All language subtitles for JEFF BECK - Documentary MKV Part 2 (2019) - Rom-en

Son, do your job!

And then when the demo tape came to
Motown and Berry Gordy heard it,

he said: “This is the best song
that you ever wrote. ”

So his single came out
Stevie and became number one.

And it's I think the biggest seller with
his singles of all time

And it went OK, because it was a
much better version than

the one we did ... I think.
We made a heavy metal version.

But I don't think he cares
Stevie too much of that.

When I heard Stevie Wonder's version
of that song, the final one

of that song, you know,
no one touched her anymore

that it doesn't sound like a song
butchered by a bar troupe.

There was no such thing as Jeff Beck.
It couldn't be.

Jeff released his version
with his new band (ex-Vanilla Fudge)

and the song also withstood the charts.

I mean, the boys in the band sounded like they were
very excited to sing together

I had seen Fudge three or four times

and I was very impressed.
They sounded great!

Superstion cu Beck, Bogert and Appice

Maybe not knowing that Stevie had composed
the ultimate piece for a trio formula

because the double bass drum that he
used it Carmine was perfect.

Timmy was too busy with the bass chords.
Who else could be added?

They both sang vocals, so I did
two vocalists, bassist and drummer.

Ready! The list is complete.

I mean, there is a certain
amount of "fuck" transmitted

in everything Jeff does.

And I think there's a dose
very big in that song.

But unfortunately I couldn't
we don't bring any songs to that level,

at that quality. So it didn't exist
never a proper album.

I toured and drove people crazy
come to the park to see us. Was awesome.

I sang at Crystal Palace and they were
girls swimming across that pond

to get in front of the stage. Was awesome!

We said to ourselves, "We're on the right track."

And I got a ridiculously good answer.

But then we seemed to get mentally stuck

We couldn't compose very good songs.

They also released a second album but
which has died out quite quickly.

The managers of the ten had to
gather to declare the band's divorce

The record company didn't have one
mostly in that breakup.

We were mere observers, spectators.

It exploded, you know? from
Unfortunately, that's what happened!

He was not at all the man he wanted to be
be a rock star, this whole thing.

He could only be faithful
his art and yet ...

He could go home leaving everything behind,

to work on machines
to live in the country,

and so I think he found a balance
very good between the two calls.

We're working on a car wreck
left after an accident in ‘69,

and I had a transistor radio
who was singing next to me.

I was lying on the ground
working on a rear axle

or anything else and water
rain was dripping down my face,

and I said, "I'm in a ditch.
I'm back in a ditch! "

And the water almost took my radio.

And it was McLaughlin singing something about
on Jack Johnson, that amazing album.

Miles. I mean, my God
Please, it's a wonderful thing.

And then I heard
McLaughlin making his entrance.

And that was the moment I had
I stopped working, I went into the house,

I got a cup of tea ...
and I kept listening.

And that was it. I just said to myself:
"It simply came to our notice then.

That's what I want to do. "

Focus only on the guitar

and deny the need
the existence of a vocalist.

There was no point in beating people up

trying to find another Rod Stewart.

What a wonderful gathering of musicians -

the brilliant Max Middleton
on keyboards on keyboards ...

Richard Bailey and Phil Chenn on drums and bass.

.. and the disc was produced by
George Martin at Air Studios!

GEORGE MARTIN: I came up with the idea
Album title Blow By Blow,

because the word "Blow"
it means many things.

But I used it in the sense of jazz.

When you do an extempore bit (a bunch
snapshots) give a shot.

You should have seen the joy
on George's face

when he discovered how
we will have a lot of fun ...

Jeff and I met
and he invited me to the studio,

and he told me that George had really left him

to sing and do whatever he wanted,
and he recorded all things

and that he will then make the final version.

That George was someone who
he really understood

the perfection of Jeff's interpretation

and how different and how
it was special to anyone else.

George Martin really understood
that Jeff was a serious musician.

He wasn't a producer with a
singular vision that

he wanted to impose himself.

And I don't think anyone could be very lucky

to impose his vision on Jeff.

GEORGE MARTIN: Well,
Jeff could be temperamental

but it was never a big deal.

I mean, if he was frustrated

because he couldn't get what he wanted
he wanted to be very upset,

he once even threw the guitar
in the studio at one point.

But, you know, people are temperamental.

And it's okay to release "steam."

As long as he doesn't release
steam on me, everything is fine.

I had no problems. We
understood very well.

He also likes to explore the guitar when he hears

something that catches his ear
or give him a new idea,

he sought to deepen his pursuit of the idea.

John McLaughlin was giving it to me
with his foot in the ass at the time.

And in this the Mahavishnu Orchestra
played an important role.

Jeff always said that
Mahavishnu Orchestra was -

and still considers it a Holy Grail.

"They inspired me to start pushing
things to the next level. ”

The song that has a part of that idea
related to Mahavishnu is Scatterbrain

It starts as a schizophrenic blast
which I once had

when I was nervous in the cabin
studio test.

Two seconds before continuing
printing I discovered a thing

and Max being the bastard who
it can sometimes be, he said,

"You know something about these agreements
annoying songs you play now? ”

I also wrote a few
agreements to go with them. "

Then he said, “If you lift everything
on the guitar with a semitone,

I can make a track out of it. "

And before we get caught,
I had this piece.

Yes, it's ... That's right ... It's a
hard stuff, that song.

He was moving further and further away
of the rock he

he had done it and he wanted to
to open up to something more melodic

and with a softer, more jazzy angle.

George really liked the play and
began making arrangements for keyboards.

It was a successful proof
of spontaneous creativity.

When I suggested we use one
orchestra to print this piece,

I think he was taken by surprise.

For me, it was a
pretty risky thing,

because Jeff had never done that before
something so far and I wondered if

the public will be able to accept that
Jeff also works with an orchestra.

George was open to anything and he was the one
more encouraging and kind guy.

And, honey, it made a great sound.

‘Couse We’ve Ended Ace Lovers is for
me the most important piece.

I mean, Jeff is in
the most beautiful lyrical moment.

Of course it's a composition by Stevie
Wonder and that must be emphasized.

When I heard that album,
I just said, "Oh, wow."

Her voice was evil
flowing lens.

And I started singing
‘Cause We Ended A Lovers,

the song Syreeta sings.

Max Middleton said:
"How beautiful she is. What piece is this?"

And he said, "Why don't we do the play
this as an instrumental one? "

GEORGE MARTIN: Jeff is an amazing person,

because it can take out those
more incredible sounds

from an electric guitar.

Even after throwing her in the studio,

he picked it up, tickled it a little and all
it could make some great sounds.

He uses the guitar as a voice.
He plays the guitar.

And I don't know any other guitarist like him.

Blow By Blow was successful
immediately after launch.

I mean, it really took off like a rocket.
He climbed all the charts.

Looks like a lot of fans of yours
Jeff Beck seemed to be waiting

an album in which to hear it
playing the guitar to the max.

Max and George were like two
peas in a pod

due to their degree of
musicality on keyboards.

Max came out with those twisted chords.

They looked like Goodbye Pork Pie
Hate, you know, Charlie Mingus.

Goodbye Pork Pie Hăt, composed
by Charles Mingus, it was an ode

brought to the great saxophonist Lester Young.

And it was noted that being a
piece with something very special

and different, something total
unexpected from Jeff.

And after I finished, it was a
deadly silence. I said "Oh."

And George ... the button sounded
moving. And he said, "It was extra."

VERSION ON THE ALBUM

And today I say to people:
"Boy, if you want to learn guitar,

learn all ranges and
arpeggios and all that,

but first you have to
to learn two solos,

and both are relatively light
learned because they are slow -

Goodbye Pork Pie Hat On Wire and
‘Cause We Ended So Lovers.’

Because there it is ... there it is what you feel!

I received a letter: “Dear Jeff Beck,

your version with Pork Pie Hat
he turned his back on me. "

It was signed Charles Mingus

And then I felt like we had the world
at our feet, you know?

I felt now that we could do whatever we wanted.

Jeff is like a rock’n’roll musician
who understands jazz

So, this is like a very rare animal.

We went to see Mahavishnu
Orchestra in Zurich.

We also play there and we got there
to meet at a hotel party.

We had a great time, you know?

That's how I got to know them
Mahavishnu Orchestra - McLaughlin,

Jan Hammer, Billy Cobham, Jerry Goodman
and it was simply amazing.

And that's how we really got to have it
excellent contact between us and at

kind and a dialogue because really
we had a lot in common.

Jan already knew me. He said:
"Of course I know you! Din Yardbyrds.

I know everything you did.

So that's how we got to the big session
establishing contact between us.

That was before Wired. I guess
that the album was almost over.

Jeff had done some hard mixing.
The album was almost ready, but not finished

George Martin had to leave. was
hired to release an album in the DOOR

George left before he did
the latest album finishes.

There were still some overdubs
and certainly some mixes.

So I had to take it
goodbye to George.

Jan was interested in that
that I will fly to the USA

to watch the magician how
will work on that new album.

So I did some
fast mixing and practical

all those mixes came to be
master versions for the album!

So more than half
from the album was mixed here.

And I've done it practically from scratch
a song called Blue Wind.

He told me to sing these two chords.

These two notes

I told him:
"Oh, Jan. That's a children's thing."

And he said, "Trust me."

And I didn't like that at all.

It was a very simple agreement followed
then a combination of things,

and when I added the battery and
the part with my synthesizers ...

And then he took those Auratones and
he put them in the packaging of the piece

and let him be heard and
the speakers started shaking!

I said, “OK. Now I understand!"

He offered me a platform
great for my solo.

And it was all about, you know,
creating a shell in the piece

to show me where and when
to go in with my solos.

And it turned out to be a great play

who is still alive
now after decades!

It was incredible to play with Jan Hammer and

with Jeff Beck at the Hollywood Bowl.

Jeff had told me about Jan before.

Jeff loved Jan and the feeling was
reciprocal. They had an excellent relationship.

I was sitting there watching
how they both interacted

and you could see the years of
friendship, mutual respect

and the love they had
one for the other.

Star Cycle was interesting,
because again

what I did was to
I'm recording the whole song here ...

.. in the old studio, again with
the sequencer and I beating the drums.

Then I took the tape to Ramport,
Who's studio in London,

and I added all the solo parts
over the previous print.

That song has a very special song.

And again, the whole album is about
to the compromise between Jan and Jeff.

The way their minds
working together is incredible.

Everything really jumps from one to the other,

and it's all just ... it's like fireworks.

He's inspired, you know, by
whatever the dynamics

present on stage. That's what he's looking for.

He was looking for a source of
inspiration, you know, a reason

to hit a rope and to
Shoot it, make the next sound.

That's why
who love to sing with him,

because it will always be so
fresh and will pull something out of your sleeve.

How can he do it when you know that
the guitar is so limited,

and people sometimes even prove it
how limited the guitar is

singing practically only a few chords
and so to build a career.

Jeff opens horses to so many,

areas that are very difficult
to keep up with him.

I returned to Epic in 1980 after the album
There And Back, but I failed

to persuade Jeff to take it out
at least one Epic album.

The years had passed and I didn't want to
I adapt to new trends,

music at the touch of a button for years
'80s and stuff like that.

Of course I visited him
Jeff at his house.

She was a very kind host, she told me
showed the cars in his garage,

on which he had spent a significant part

from his time working
to them very happy.

I felt there was no room left
and for me in the music of that time,

so I buried myself in
work in my workshop.

And I had reached a point
in which those from Epic

they seemed to have forgotten that I had a contract with them!

And I ended up going to participate
at various singing sessions.

Any artist was delighted if
Jeff contributes to their work,

so the fact that over the years a
participated in numerous albums for

a wide range of names, from Stevie
Wonder at Stanley Clarke and up

Diana Ross and Mick Jagger and Tina
Turner and enumeration can continue ...

I enjoyed being invited to play with them.
I liked every minute.

He was the kind who guided him
career as he wished,

and that he took time off
or he felt like a record label

blowing them in the back of the head and asking
a new album every year.

Epic Records thought it would be a
wonderful idea to put an artist

to give me a clue what I should
making a painter do this

surreal drawing with a guitar
climbed the ramp instead of a car.

I liked the idea. I liked that cover.

It was me. I mean, that was me.

It couldn't have happened better ...
it was right in the center.

Understand? That was me!

Undoubtedly the Guitar Shop LP, a
it was a real comeback.

And that was their business, you know?

The album was released together
with Tony Hymas and Terry Bozzio

The results were indeed
revolutionary, in a way,

for a band of three to
he pulls out something with so much power.

You know, it was a big trio
power, with keys instead of bass.

His approach was super, super rhythmic,
and for that to work

he had to have some people behind him
which can draw so much power.

I think Terry Bozzio had a great time
contribution to achieve this.

Jeff had worked with some others
Great drummers, you know?

So I was in front
very high requirements.

When you hear this song, you understand
why it's called Big Block,

which obviously refers to a
large dimensions of a car.

His interpretation is amazing.
Those Big Block deals are strong!

Those sexy chords in the middle
piece, all of that was my creation.

Big Block, it's a great song.
It's already a classic piece.

A powerful song.

That's a pure example, I think, of a lot of power

and energy on Jeff's show.

She is full of aggression and wit.

It has an ugly, very ugly resonance.

Which underscores the harshness of the agreements
are the low tones present

all the time and the main agreement of
the bass is low enough in volume

to provide space for
the guitar to do absolutely anything.

And that's how he develops his part!

The sounds it makes
that guitar still shocks me.

It's all so clear,

and it sounds like he knows
safety wherever it goes

and exactly what he wants to do and
that he will execute it perfectly.

He always has a song,

but he also has a strong attack
as a kind of aggressive fire.

And it's brilliant.
867

Jeff doesn't use up, and I have
learned a lot from this thing,

because that's how you are
connected to what you sing

and something emotional appears that makes him

when he sings to rise above and
beyond if he used a feather.

In its beginnings it sings with up

but then he learned to sing without.

And so he was able to concentrate
more on his Stratocaster,

and he had got the guitar

so well adjusted for each shade

and tone and tension
on the ropes so that he

he developed a completely unique style.

And that's pretty magical.

Where Were You and Practice the
impossible to sing piece.

It's simply an impossible piece!

That song where he sings the song
with those harmonics, it has something like that

what only a sensitive ear can know
exactly when things are in tune.

The way he
use the Stratocaster

to give the feeling of slide
and extraordinary clearing.

He sings whole songs on harmonies

which are passed through two or three tones

and believe me I tried too. Is difficult...
but he makes it sound easy.

He was invited to sing
at a memorial service

for Richard Wright when he died.
Rick liked this song.

Rick often said Jeff was
his favorite guitarist,

to my annoyance. And he a
came and sang it live,

and it was just like a recording,
it was so perfect.

Just know that this song, which
I composed it, it reached people,

it was very satisfying.

Elton told me that too
he really liked it,

and Freddie Mercury used to
and he often listened to her.

So I thought, "Oh, that's good then!"

It's not amazing, is it?
that an idea would end up on a disk

and affect people's lives in any way?

Jeff always tried, you know,
to provoke stereotypical manner

to play guitar or pure and
simple even the stereotype of music,

and find new ways to, you know,

to express one's opinion about what
it's happening in music now, not counting

if it is about collaborating with
different people or new sounds

for he always has a mind
something he wants to do and change

He listens to EVERYTHING!

I mean, listen to anything
la Ornette Coleman la Spice Girls şi

any intermediate element and is capable
to filter into something usable.

Jennifer and I got along well
and I did many crazy things

I have a strong sound system in
car and that's how I heard the song Nadia.

It had the most impressive sound
which I had never heard

and I put it on again and again
new on the way to the studio.

There I said, “Listen to this. I will
I'm trying to imitate this singer. "

It was the hardest thing on
which I ever did.

Indian singers keep twisting their voices,

And it's almost often
incredible what I can do with my voice,

jumping from note to note
and how high I can sing.

Indian voices are very difficult to imitate.

They have a lot of shades
subtle and small twists.

In fact, I did some loops for her
from every bit of the song

and I arranged them maybe ten or so
fifteen times to be able to

focus only on that side without being
upset he'd done it before

to break it down so scientifically.

But, of course, he will do it in his own style.

It's a perfect example of the expansion of
the instrument beyond imagination

anyone, you know, to shake hands

and his brain to be able to lead the style
to play the guitar so far

When I talk to other guitarists
about him, there is no doubt.

I mean, everyone else is everyone
group and then there's Jeff Beck.

I don't even know what half does
from the time he played guitar.

It combines vibrato lever cu
pulling the strings and with the volume.

So many things are happening
between what he does with his left hand and

what he does with his right, total hand
the independence that everyone has.

Everything to do what that voice does.

He sang this song five nights
next to Ronnie Scott, I think

and the fact that he managed to do
that was pretty amazing,

because it was just a small jazz club.

Art Blakey sang there too
I also saw Elvin Jones singing.

Those people were the ones who
they belonged to that club.

And here I am, Jeff Beck, there.
No no no.

How wrong did I choose? And it was amazing.

I can't believe it.

You know, I mean the people here in the room.

But, I would like to wish them well
came to someone on this stage

of someone who knows how to
use a Stratocaster.

It was an honor, you know, I mean,
to rise to his call there.

And the fact that he asked me to sing
and I was great

of mover that he wanted me to climb on
stage and play with him, you know?

Mr. Eric Clapton is here
with us tonight.

I might as well go home now!

They were trying to figure out what
to sing and Clapton said:

"Well, why don't we sing You Need Love?"

I basically had them there
everyone in Led Zeppelin,

that is, the surviving members and a
it was funny to sing You Need Love,

because from this piece they came
inspired her with Whole Lotta Love.

That was the song that got him
influenced to compose their piece.

Jeff and I know each other
in early adolescence.

And let me tell you, that
that was a long time ago.

He must have been 13, 14,
when we first met,

and we remained friends throughout ...

It was a surprise that the
the Rock and Roll Hall Of Fame,

to call Jimmy to come there
and call me to offer me the prize.

I was very flattered. And what
what he said made me cry.

You listened to Jeff throughout
career and you could say:

"Wow, you've become very, very good, Jeff."

And then you heard it a few years later,

and he continues to become
better and better,

and he still has a lot to say to the end.

And so he leaves us as if
simple mortals, believe me,

just wondering and having so much
much respect for him.

And I tell you, I'm really honored
to be here to participate

at Jeff's reception in Rock and
Roll Hall Of Fame, for that

he did so much for rock
and roll and always will.

The plan established for the sound test a
we went to sing Beck's Bolero.

And I said to myself, “Oh, yes, OK, I will
bring the original guitar with which

he sang, that is, a Fender with 12
strings, electric Fender with 12 strings.

So I took her there and rehearsed.

Somehow, I think Tal and I.
I called Jeff too.

And I said, “You know, it's a shame

that we don't play a Zeppelin song.

I mean, if we're still going to sing with Jimmy Page.

And I even got a call
before we left and he said:

"I had a discussion with the band,

and they all said it might be a good idea

if it weren't for Bolero instead of singing
better to do Immigrant Song. ”

And I said, "Oh, yes? Well, then
it will be really interesting,

because I didn't do any rehearsals. "

And we have Jimmy Page here!

The technical team behind
the scene froze with fear.

The sounds, the light ... Nobody
he didn't know what was going on.

But the audience simply went wild!

I mean, he improvised
one solo per song on the spot,

and imitated the guitar part
vocal just to show, you know,

just to show everyone how good he was.

I still get goosebumps when
I'm thinking about that moment now.

The band was having a lot of fun
doing this piece hard,

and they all realized how much
he was an amazing guitarist.

These two people who had gone out into the world
musical in the same year with the same

influences and you could see where they had come.

Jimmy Page and Jeff Beck.

And then there were Clapton and Hendrix.

I mean, they all took it
the same raw materials

and he did that - just believing
following distinct and different paths.

Every time I think
at that, it makes me dizzy,

and Jeff is truly a voice
totally different, that no one else.

I like his vast terrain,
understand? He could move on from something

so shocking and so aggressive

to something so tender and so
sweet and everything in between,

and it's really a mirror
perfect of all emotions

and enjoy being a being
human being and being alive.

It simply covers the whole
range of human emotions.

You can recognize Gilmour
and Hendrix just like you

You can recognize Jeff in one
musical phrase, even a note.

There would be no more figures
emblematic of guitarists

if they did not have their clear stamp.

And that's, I think, what everyone does
aspiring to become a great guitarist,

including me, wants to
realize one day.

So I think everyone is unique,

but Jeff is a little more than that.

He made his set and then he had to
let me go in after Nessuno Dorma!

It was something like, “You're probably kidding, man!
This is the truth.

"This is a closing song of the show.
I can't go in after that. "

There aren't too many musicians
who can do that.

This song is vocal for a reason.

It's really just about
two hands and a piece of wood

and the things he can do,

and which he does with great emotion
and a lot of soul and how expressive.

All those years ago he had
a band that presents

Rod Stewart as his vocalist.

It always seemed to me somewhat
a sign of self-defeat

try to replace it
Rod with some other vocalist.

Jeff has a very good ability
interesting in the choice of singers

choosing his Imelda
May, Joss Stone and Beth Hart.

It's a perfect example of three
absolutely amazing women

which matched his style and
the energy he wanted to transmit

at the right time and type of fire
which he wanted the play to have.

I had the opportunity to participate with
Jeff composing songs.

We composed some beautiful songs together.

And I thought that was it.

And then he called me and asked if
I would like to be his vocal soloist.

It was incredible. I didn't get to and
I sing a lot of songs, but that's it

I was able to sit on the edge
stage and watch him sing

and to understand why he is the most invincible
guitarist of all time.

Jeff really appreciates vocal soloists.

You know, he always listens to vocal soloists

and how words are articulated.

Beth Hart is someone with whom
I've worked before,

and she is wonderful and capable
to sing with a lot of feeling.

As for the singers, he knows which one
it's the kind of song that catches them

best. And he guided me to
that piece and I really liked it.

50 years later, after the girlfriend
she took him on stage in Hollywood

where he said to himself, “Lord, I am sorry
to get to sing here "

and after 50 years he came to sing
there and the concert to be sold-out.

Superb. Sistrugator. And
everything is just wonderful.

The Revolution Will Be Televised

One of my favorite records
what he did is Loud Hailer,

I mean, it's incredibly modern,

and having such a vocal soloist
to find, chose well.

It's a huge pressure to sing
opening to Jeff.

It's like coming back
50 years ago

Rosie was seen trotting
prin Hollywood Bowl,

in front of all the rich
that one from the first lines ...

... who didn't understand what was going on.

He always decides to do something about it
which no one expects to do

that is - to work with us, o
unknown band from Camden.

Jeff has always supported young people
artists and especially women.

He has a whole history of being by his side
of him really great musicians

vocal soloists, guitarists, bassists
chosen not only on the basis of criteria

to be a woman, but also to be good musicians

and get along well
with him and his wife.

Is it really that cold outside?

I met Jeff at the party
to Roger Taylor for his birthday.

It was a friendly date,
because it was as Roger said:

"Here he is, come meet Jeff."

And when I came back I gave up
figure out who I'm talking to and believing

that the first thing I said was
was: "Oh, fuck, you're Jeff Beck"

I installed the engine in the absence
yours, so I'm almost done.

"Who do you like?"
And she said, "Oh, by Albert Collins." Ding!

The light came on and I did
said, “It’s kind of unusual,

to have a young guitarist in the band
who likes Albert Collins. ”

Then he said to me, “Well, if you want
to see me singing with my band,

we sing inyt a pub. So we went there.
It was great.

He's always trying something new. The most
recent album by Loud Hailer,

it doesn't look like an album at all
which he has done before.

Collaborate with people who are like
and he was an experimenter in music

And that can keep you young.

Which is important
is that Jeff at his age

still trying to experience things
us and do things differently,

not to sing the same things
which he always sings.

He forces himself a little and gets excited

when he meets new people
and try to sing something new

Looking back, he feels
that in a realm of fairies.

How the hell did that happen?

Just sitting by the fireplace drinking Prosecco
and composing music with a legend.

There was a lot of talk about things
who interested him in the world,

but then everything came pretty easy.

Everything was done under this roof
and it was a beautiful thing,

a very natural experience.

That was the sequence of
Carmen's chords, I think,

and then I came with some
small fillings and others.

I didn't expect that song
to be so deep

I like the feeling present in
spatele piesei Scared For The Children

It's something we felt
all very close.

I sing with as little as possible
notes and that means something, I think.

If there was a plan to sing
this poisa, this would be the plan.

I mean, the chords are so beautiful.

I just have to sit on the rope
and touch it, that's what I have to do.

Jeff's solo on
Scared For The Children,

it's soft at first and then
explode in the second half,

it's like a hint
a quote from Jimi Hendrix.

The best time is on a stage with
very good sound and live singing.

You feel like it's really flowing.

Jeff is probably one of the most

influential guitarists in life today.

And whenever I get to play with
it is an affecting experience

the style in which I play the drums but also
my music. It makes me sing better.

Every time I see him,
its quality is so great,

and every concert is the only place
in which he continues to surpass himself

and all I can say is, "Oh.
OK. "Do you understand?

"I'd better go home and
I pick up that guitar again. "

He's interested in the way
natural in making music,

and has enough confidence in
his music to know that all

things related to business with
music just doesn't matter.

Have the attitude that
she always has it ready

to try something new and even
if he still doesn't know what -

he really does!
- And I think that's something magical.

There is a difference between a
play music and make music,

and that's what makes it special,
because HE makes music.

Jeff seems to embody the sound
which he produces and I have seen

taking someone else's guitar just
he had sung a moment before,

and without effects, without anything
added and when he starts singing,

and the sound of the same instrument

it was completely different.

His unique talent, this
unique musical sensitivity,

that vocabulary, inspiration and
willingness to take risks,

jumping off rocks, you know,
all this appears in his music.

People need to ...

.. be aware of their opinions
about him. I mean, where have they always been?

There is no one left
consistently so good,

interesting, looking for new things,
be adventurous, bold,

since it began in the 1960s.

He just loves music. I think...

.. if you don't want to sing anymore, if not
nothing inspires you from what you hear then

you might as well stay home
by the fire and watch TV.

But obviously he has something else to say.

I haven't given up hope yet, Jeff, you know.
VOICE, GUITAR.

Good job guitarists

is that each is his own character
when he sings, if you can understand me.

And we could talk to
all for hours and hours

and years and years, decades and decades,

but most importantly,
the one you can't actually do

express in words, that's what you hear
in fact in that music of his.

And the key to all this, a
Jeff's art of interpretation

and why Jeff is so great,

is what he manages to
transmits through his guitar.

And that must be listened to in order to be believed.

I always keep a guitar around
in all places in the house

to remind me that it would
I always have to sing to her.

And the guitar is always on
a constant challenge.

And every time I pick it up, I pretend
I just started learning to sing

and I seem to be starting to cope.