Joe Beck Albums (17)
'Golden Earrings'
Release Date 8/11/2009
Tracks 16
Label Whaling City Sound
See Album Tracklist and Review
What The Critics Say
This was Joe Beck's last project -- an album of duets with the throaty-voiced Laura Theodore devoted to the repertoire of singer Peggy Lee and her onetime husband/guitarist Dave Barbour. It could have led to a much more ambitious project, a musical theater production on the life of Lee featuring just Beck and Theodore. But shortly after this album was completed, Beck was diagnosed with lung cancer and had to drop out (the musical went on to open in Cleveland with a conventional full band in Oct. 2007). As it stands, the Lee-Barbour project finds Beck in terrific shape, darting around in several styles, always inventive, always supportive of Theodore. Beck divides his time equally between a Martin acoustic guitar and a custom-designed Martin Joe Beck alto guitar that effectively combines the characteristics of a bass and a guitar. If truth be told, the difference in sound between the two instruments is not that great because Beck's clear-cut timbre and touch stamp an indelible signature on whatever he does. The main difference is in how the instruments are used, for Beck often seems to go with the acoustic whenever he wants to chonk away with rhythmic urgency while the alto lends itself to more intricate work. Theodore's voice and delivery only faintly resemble Lee's, but that's OK, for she imposes her own, deeper-voiced, more overtly dramatic creative personality on Lee's material. The most interesting transformation occurs on, of all things, the covered-to-death standard "Fever" -- now reharmonized and revitalized, capped with a wonderfully weird avant-garde ending in which Beck makes his guitar sound like a CD player skipping on a defective disc. "Manana" is an interesting case -- a period piece in which Theodore dares not mimic Lee's original faux-Mexican accent in the politically correct 21st century, but instead interprets it cheerfully without apologies. Given the sometimes questionable commercial zigzags that Beck's career took, it's heartening to report that his final recordings were so classy. ~ Richard S. Ginell, All Music Guide
What The Critics Say
John Abercrombie and Joe Beck are two veteran jazz guitarists who need no introduction; each has accomplished much as a leader and sideman, but it is a treat to hear them as a duo. This diverse studio set mixes familiar standards and jazz compositions, along with originals by both men. The intricate "Beautiful Love" and "I Should Care" both begin with elaborate solos, keeping their familiar melodies hidden until the final chorus. John Carisi's landmark composition "Israel" is usually performed with brass or a piano, but the guitarists' inventive solos and accompaniment for one another nicely fill out the sound of this still challenging decades-old piece. "My Funny Valentine" is recorded so frequently in the jazz world that it seems in danger of overexposure, though once more Abercrombie and Beck find a fresh path to this popular standard. The spacious, deliberate interpretation adds to the lyricism of "My Romance." They add a funky rhythmic riff to Miles Davis' "All Blues," giving it a new character, while Ornette Coleman's catchy blues "Turnaround" is tackled in a fairly straight-ahead manner. The originals also merit praise. Beck's strutting "Mikey Likes It" and Abercrombie's lovely ballad "Vingt-Six" will likely catch the ears of their fellow guitarists. Highly recommended! ~ Ken Dryden, All Music Guide
What The Critics Say
Joe Beck has had a long career, though he remains an artist deserving of wider recognition. These 2005 sessions are a relaxing affair that will delight fans of Brazilian jazz. Joined by bassist Ira Coleman and drummer Thierry Arpino (who is known for his work with violinist Jean-Luc Ponty), Beck's fluid electric guitar (while sometimes overdubbing an acoustic rhythm line) makes the most of each selection, playing a heavy dose of popular tunes by Antonio Carlos Jobim and his own tasty originals. Highlights among the Jobim compositions include the bittersweet "O Grande Amor" and the easygoing "Felicidade." Harmonica player Gregoire Maret is added for the leader's gentle bossa nova "And Here's to You" and Jobim's bittersweet "Falando De Amor." Beck also offers an inventive samba arrangement of John Coltrane's "Giant Steps" that adds a few twists while played at a slower-than-typical tempo, so it sneaks up on the listener. Highly recommended! ~ Ken Dryden, All Music Guide
'Live in Biel, Switzerland'
Release Date 11/2/2004
Tracks 8
Label Whaling City Sound
See Album Tracklist and Review
'Just Friends'
Release Date 1/1/2002
Tracks 10
Label Whaling City Sound
See Album Tracklist and Review
What The Critics Say
The jazz world is full of jazz snobs--that is, myopic, narrow-minded people who only care about straightahead jazz and believe that rock, R&B, country, reggae, dance-pop, folk and hip-hop have no right to exist. But Joe Beck isn't one of them; he's an admirably versatile guitarist who has crossed paths with everyone from Gene "Jug" Ammons to Frank Sinatra to disco-soul goddess Gloria Gaynor. Unfortunately, Beck has spent so much time backing others that his own catalog isn't as large as it should be, but he still has a lot to be proud of--and this 2002 release is an appealing addition to his resume. A generally straightahead jazz effort (with some fusion moves here and there), Just Friends finds a 57-year-old Beck forming a trio with bassist Mark Egan and drummer Danny Gottlieb and paying a lot of attention to well known standards. One could complain about the abundance of warhorses that have been beaten to death over the years--"Softly as in a Morning Sunrise," "There Will Never Be Another You," Cole Porter's "I Love You" and the title track are great songs, but how many more versions do jazz enthusiasts need to hear in the 21st Century? That said, Beck's playing is focused and inspired throughout the CD. You might think that Just Friends (which also contains three Beck originals) pays too much attention to overdone warhorses, but damned if Beck doesn't play the hell out of them. And the fact that he enjoys an obviously strong rapport with Egan and Gottlieb is also a plus. Just Friends falls short of essential, but it's still a solid--if conventional--outing for the veteran jazz guitarist. ~ sql=Aaa3gtq4zzu4a, All Music Guide
What The Critics Say
Joe Beck and Ali Ryerson have been working as a team for more than four years, playing concerts and other gigs under the name Duo. This is their second album, and, with the name Django, one would assume it is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. John Lewis' "Django" is one of the tunes on the agenda that they play within the chamber style. Ryerson's passion for Brazilian music is documented on her six albums for Concord Jazz. She gets to show her mastery of this tempo on "Carioca Blue" and "O Barquinho." Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. Their mutual comfort is evident on such tunes as the medley "Come Together"/"Alone Together" and expresses itself on a haunting rendition of "Tenderly." If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener's attention will not drift away. Recommended. ~ Dave Nathan, All Music Guide
What The Critics Say
Having been employed as a sideman by everyone from Miles Davis, Joe Farrell, and Gene Ammons to James Brown, Esther Phillips, and Gloria Gaynor, Joe Beck has an impressive résumé when it comes to supporting others. But his output as a leader has been erratic. The guitarist's own catalog is much smaller than it should be, and he hasn't lived up to his full potential as a soloist. One of the decent CDs that Beck recorded in the '90s was Finger Painting, a fusion/post-bop effort boasting Bill Evans (not the famous pianist) on tenor and soprano sax, Mark Egan on electric bass, and Danny Gottlieb on drums. Except for a bluesy interpretation of Gershwin's "Summertime," Beck sticks to his own compositions, which range from the funky, Wes Montgomery-ish "Blues Doctor" and the edgy "Red Eye" to the moody "Texas Ann" and the pensive "What Would I Do Without You?" Finger Painting, which Egan produced, isn't a gem, but it has enough going for it to make you wish that Beck had recorded as a leader more often over the years. ~ Alex Henderson, All Music Guide
What The Critics Say
At 45, Joe Beck bragged that The Journey contained "the best playing I've ever recorded." One tends to greet such lofty statements with a healthy amount of skepticism, but in this case, the artist had something to back it up. Even if The Journey isn't necessarily the best album Beck has ever recorded as a leader, it's certainly among his best. The guitarist's playing is confident and inspired throughout the post-bop/fusion album, and he definitely goes that extra mile on well-known standards like Bronislaw Kaper's "Invitation" and Benny Golson's "Killer Joe" as well as such Beck originals as the emotional "Quidado," the haunting "I Don't Know," and the intriguing title track. The fact that the Philadelphia native has enthusiastic support certainly doesn't hurt -- vibist Dave Samuels (of Spyro Gyra fame), bassist Chip Jackson, and drummer Terry Clarke all do their part to bring out the best in Beck. If you only own a few Beck CDs, The Journey should be among them. ~ Alex Henderson, All Music Guide
