Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player.
Crazy Legs is a studio album by Jeff Beck and the Big Town Playboys, released on 29 June 1993. The recording is an album of Gene Vincent songs. The album is considered to be a tribute to Gene Vincent and His Blue Caps, and in particular to Vincent's early guitarist Cliff Gallup, whom Beck recognized as his biggest influence.
During the rehearsals for the string quartet version of "White Man Sleeps," a strong artistic bond developed between the work's performers, the renowned Kronos Quartet, and its composer, Kevin Volans. This led Kronos to commission a second-string quartet from Volans, especially written for the musicians. Like "White Man Sleeps," it is a stunning piece of music, recommended to every world music lover who wants to cross the bridge to contemporary, modern music. The work comes in three movements, each one with a different character. Most remarkably are the Ethiopian influences in the beginning bars of the first movement (compare this motive with the vocal style of the distinguished Ethiopian singer Aster Aweke) and the joyous Southern African dance-like motive featuring after the more contemplative opening of the second movement. The slightly melancholic song-like structure of the short third movement draws the work to a close.