Listening now and it is very good indeed.
Reminds me of an ancient Rolling Stone photo of Beck for which he received the coveted Robert L. Christgau Erect Left Nipple award :grin:
EDIT: Yow! There's the bass solo now! Who the hell is that?
second EDIT: Excerpted from a website, with my boldface highlighting:
"Here's another review," Jeff Beck At Ronnie Scott's Looking barely a day older than his classic mid-1970s album covers – all scarecrow black hair, Red Indian necklace, sleeveless T-shirt and toned biceps – Jeff Beck kicked-off a rare week-long season at Ronnie Scott’s last night with such a sonic boom that ear plugs were readily available on the reception desk. Not that this was anything so crass as cranium shaking metal thunder though, but an absolutely jaw-dropping display of the most exciting, imaginative and inspirational jazz-rock guitar witnessed in years. An utterly individual and unique talent that has made him, along with John McLaughlin, the prime, though somewhat reclusive, influence on jazz-rock players of the past three decades. Out of the Clapton/Beck/Page triumvirate that swept all before them from the mid-1960s onwards Beck has always been the most innovative and jazz-oriented, with two late 1970s standout instrumental albums, Blow by Blow and Wired, that are accorded the highest acclaim. And it was much loved pieces from these, such as ‘Led Boots’, ‘Scatterbrain’, Mingus’ ‘Goodbye Pork Pie Hat' and a breathtakingly bitter-sweet ‘Cause We’ve Ended Now As Lovers’, together with later Indian-inflected gems such as 'Nadia' and 'Angel Footsteps', that formed the bedrock of this astonishing 90-minute set. Featuring master drummer Vinnie Colaiuta, keyboardist Jason Rebello and brand new female bassist Tal Wilkenfeld – a 21-year-old Australian wunderkind who has played with Chick Corea and Jeff Tain Watts and has just released her debut featuring Geoff Keezer and Wayne Krantz – this is easily the best band he’s had, surpassing even his late 1970s line-up with Jan Hammer. But then when the set erupts out of the opening ‘Bolero’ into a blistering interpretation of Billy Cobham's ‘Stratus’, where Beck and Colaiuta enter into such a terse dialogue that makes you wish they would cut their own take on Coltrane and Rashied Ali’s Interstellar Space, it’s blindingly apparent that not only has Beck somehow fused the vast sonic legacy of Hendrix and McLaughlin – both of which, let’s not forget, he was an early influence on – but he’s taken it to a whole new place that none of his peers can hope to reach. And all without an effects pedal rack in sight. Kill for a ticket now! Jon Newey"
