text: maqamat

text: Oud

text: United States

text: improvisation

text: Hungary

text: Mosul

text: Iraq

text: Jamil

text: Baghdad

text: violoncello

text: Arabian music

text: Byzantine

text: Kurdish

text: Assyrian

text: Turkish

text: Persian

text: Abbasid

text: Baghdad Conservatory

text: Scharif Muhyi ad-Din Haydar Targan

text: Académie des Beaux-Arts

text: Mesopotamia

text: Hashemite

text: monarchy

text: Faisal II.

text: Beirut

text: Fairuz

text: Istanbul

text: Budapest

text: Hungarian

text: Omar

text: Franz Liszt Conservatory

text: Zoltán Kodály

text: Béla Bartók

text: Baath party

text: Saddam Hussein

text: Sunnites

text: Iraqi Traditional Music Group

text: Iran–Iraq War

text: First Gulf War

text: Farid Al Attrach

text: Rabih Abou-Khalil

text: taqsīm

text: scales

text: maqām

text: stringed instruments

text: tunings

text: course

text: mandolin

text: sitar

text: plectrum

text: eagle

text: metre

text: fingerpicking

text: flamenco

text: mizrab

text: jazz

text: Louis Armstrong

text: Charlie Parker

text: lute

text: interval

text: fifth

text: flageolets

text: Hindu music

text: Andalusia

text: caliphate

text: flamenco

text: Phrygian mode

text: chord

text: rasgueado

text: fretless

text: intonate

text: Bernard Lewis

text: Dorian

text: UNESCO

text: International Music Council

text: Legion of Honour

text: Habib Hassan Touma

text: Omar Bashir

text: Jamil Bachir

text: Munir Bashir International Foundation

text: Munir Bashir Discography & Music

text: Website of the oud-expert Dr. David Parfitt

text: Comprehensive website about the oud

text: Encyclopedia of the Orient

text: Saramusik

text: Painting of swiss artist Otto Kohler

categories: Iraqi oud players,Hungarian people of Iraqi descent,1930 births,1997 deaths,People from Mosul

paragraph: Munir Bashir

paragraph: Munir Bashir, the "King of Oud" (, ) (1930 – September 28, 1997) was an Iraqi Assyrian musician and one of the most famous musicians in the Middle East during the 20th century and was considered to be the supreme master of the Arab maqamat scale system.

paragraph: He created different styles of the Arabian Oud. He was one of the first middle eastern instrumentalists known to Europe and the United States. Bashir's music is distinguished by a novel style of improvisation that reflects his study of Indian and European tonal art in addition to oriental forms. Born in Iraq, he had to deal with numerous disruptions of violent coup attempts and multiple wars that the country went through. He would eventually exile to Europe and first became notable in Hungary.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life.

paragraph: Munir Bashir was born in Mosul, situated in northern Iraq to an Assyrian Christian family. According to different references he was born in a period of time from 1928 to 1930. His father Abd al-Aziz and his brother Jamil had good reputations as oud-soloists and vocalists; Jamil wrote an important textbook for the oud. The family started musically educating young Bashir at his age of five, Bashir's father began to instruct him and his older brother Jamil in the basics of oud. His father, who was also a poet believed that a pure tradition of Arab music had devolved in Baghdad. He first learned to play the violoncello, a European instrument that had become a popular bass-instrument in Arabian music during the end of the 19th century. He simultaneously was taught playing the oud. The lute plays a similar role in Arabian music as the piano does in European music: it is the instrument used to impart the most important theoretical aspects in music.

paragraph: Due to a blend of many different styles and traditions there is a rich musical history in northern Iraq. In this milieu Bashir came in contact with Byzantine, Kurdish, Assyrian, Turkish, Persian, and traditional Abbasidian music.

paragraph: Section::::Life.:Moving to Baghdad.

paragraph: At the age of six talented Bashir was sent to the Baghdad Conservatory, founded 1934 by the distinguished Turkish musicologist Scharif Muhyi ad-Din Haydar Targan (1892–1967). Already during his studies, but especially after his degree, Bashir paid his attention to documenting and preserving the traditional musical styles of his country. Due to the turbulent Iraqi history and other reasons these styles were overridden by "Western" ones, especially commercial ones.

paragraph: In 1951, Bashir took a teaching assignment at the new founded Académie des Beaux-Arts in Baghdad, besides his editorial work for the Iraqi broadcasting.

paragraph: Section::::Life.:Exploring outside of Iraq.

paragraph: Bashir always had an ambivalent relationship to his country: On the one side he felt deeply rooted in the rich cultural heritage of Mesopotamia, on the other side the Iraq had no phases of inner stability during the musicians lifetime. Especially the 1950s and 1960s – the last years of the Hashemite monarchy and a time of military coups following the fall of Faisal II. in 1958 – forced Bashir to work abroad.

paragraph: His reputation had already arrived in Beirut, therefore he was contracted as accompany and "star-soloist" by the legendary Lebanese chanteuse Fairuz immediately when he arrived at the Lebanese capital in 1953. He got to know US and Latino American popular music but intensified his attempts of investigating Middle Eastern musical traditions. Due to his profound musicological knowledge he gained teaching assignments at the musical colleges of Baghdad and Beirut.

paragraph: The years 1953 and 1954 marked the beginning of Bashir's career as an instrument virtuoso. His first concert as a soloist took place 1953 in Istanbul, in the next year the 24-year-old was featured in Iraqi television. 1957 he started several tours leading him to most of the European countries. The difficult political status of his country and the resulting problematic working parameters for musicians forced him to leave the country permanently.

paragraph: Section::::Life.:Budapest.

paragraph: After a sejourn in Beirut, Bashir settled down in Budapest in the beginning 1960s, where he established a place of residence until his death. He married a Hungarian, his son Omar was born 1970 in the Hungarian capital. His son went on to be a musician as well. This city was attractive for the Iraqi not only because of its status as European music metropolis, but for giving him the opportunity to study at the "Franz Liszt Conservatory" under supervision of Zoltán Kodály, where he did his doctorate in musicology in 1965. Kodály had rendered outstanding services to the preservation of traditional Hungarian songs in collaboration with Béla Bartók. This well corresponded to Bashir's aims and methods concerning his engagement for traditional folk music of his home country.

paragraph: After Kodály's death in 1967 Bashir spent some time in Beirut again. But he was repelled by the development of the Arabian music, which was marked by progressive degeneration and commercialisation, due to the incompetent and uncritical dealing with western influences. Considering, that the popular chanters were responsible for these trends, he refused to take engagements from them.

paragraph: Section::::Life.:Messenger of Iraqi music.

paragraph: In 1973, the Iraqi ministry of information appointed Bashir to its culture committee; the regime of the Baath party was not well established at that time and made Bashir to a cultural figure of integration of the Christian minority. Also because of his international popularity, Bashir, who rather presented himself apolitical, seemed to be a suited personality for representing the different ethnic, religious, and political groups of his home country. In 1981 – Saddam Hussein was already in power and the actual forces passing over to the Sunnites – the regime also supports the formation of Bashir's "Iraqi Traditional Music Group" that dedicates itself to the diversity of the Iraqi culture.

paragraph: In 1987 – during the Iran–Iraq War – Bashir succeeded in realising a long-cherished project: For the first time the "Babylon International Festival of dance, music, and theatre", which Bashir was leading for several years, took place.

paragraph: But Bashir himself rarely spent his time in Baghdad and finally left the country after the First Gulf War in 1991. Guest performances mainly in Europe offered him a big open-minded audience, and therefore an excellent platform for the presentation of his meanwhile very original and mature style of improvisation and composition. Most of his records were also recorded in Europe. In his last years he aimed at making his son Omar his musical successor. A duo-recording of Bashir and Omar made in February 1994 is considered to be a classic of Bashir's Œuvre, because of its exemplary combination of traditional – mainly folk – material mixed with improvisation.

paragraph: Munir Bashir died of heart failure in 1997 in Budapest at the age of 68, a short time before his planned departure to his Mexican tour.

paragraph: Section::::Instrumental style.

paragraph: Section::::Instrumental style.:General characteristics.

paragraph: In the long history of the oud, Munir Bashir is one of the most important players. His style noticeably differs from other oud-players, for example from the urban “showmanship” in the “typical Egyptian” style of Farid Al Attrach, or from the heavily jazz-oriented music of Lebanese Rabih Abou-Khalil, who is very popular in Europe.

paragraph: Especially in the field of soloistic improvisation (taqsīm) over the common scales (maqām) in Arabian music, his colleagues considered him to be an unsurpassed master. It surely attributes to Bashir's pioneering work, that nowadays oud-players are able to give solo-concerts all over the world.

paragraph: But during his musical development he fought against the cliché, that the oud is the oriental equivalent to the condescendingly smiled at western "campfire guitar".

paragraph: Section::::Instrumental style.:Tunings.

paragraph: In many musical idioms it belongs to the tradition of stringed instruments to work with different tunings, adapted to the demands of the piece of music. Therefore it is not surprising, that Bashir experimented with a lot of tunings. A common tuning of the Arabian oud – "Arabian" in contrast to the almost identical Turkish instrument, that has a slightly different history – is:

paragraph: Based on older traditions of the Iraqi oudist-school (for example the one of his older brother) Munir Bashir developed a typical tuning, that is named after him:

paragraph: Noticeable is the doubling of the actual "highest" course in F by another one, that is higher, but is tuned one octave lower. This trick enables a special full sound of the high melody course and complies with Bashir's interest in melodic forms.

paragraph: Another tuning of this kind was developed by members of the Bashir family: The player uses an F-course on the bass strings, tuned another octave lower as in the above mentioned example; optional two F-strings can be put on, tuned in an octave-interval. Using this special tuning the melody course in the center of the fingerboard is framed by the bass courses. Tuned this way the oud has a really full sound and enables unusual melodies, but such a complex tuning system makes high demands on the picking and stopping techniques of the musician.

paragraph: Section::::Instrumental style.:Picking technique.

paragraph: As with other instruments of the lute-family (among such different instruments like the mandolin and the sitar) the player makes the sound by picking the strings with a plectrum (pick). The Arabian term for the pick is "reesha", which originally was made of a pinfeather of an eagle. One impressive aspect of Bashir was the precision of his risha. His style emphasized a clean risha, while most other oud players have a heavy risha. The "reesha" is held in the palm of one's hand, resulting in a difficultly learnable picking technique; furthermore the doubled strings have a less controllable attack than single strings.

paragraph: Therefore the inevitable rhythmic reliability in fastest, asymmetric accented, melodies is a special trademark of virtuosos. Generalizing: Arabian music is much more interested in rhythmical patterns that are more complex than European ones. Bashir's virtuosity of picking can easily be understood, when he shows his ability to apply the abovementioned scordatura, with its string pairs tuned in octaves, in an improvisation in the fast 10/8 metre, without the immense stopping problems of this method becoming hearable.

paragraph: Bashir's dealing with foreign musical forms appears also in his experiments with alternative picking techniques. He made the fingerpicking, cultivated on the guitar – especially in flamenco – to an essential attribute of his mature style. But after a few experiments, he gave up using a thumb-plectrum ("mizrab") that he got to know during his studies of the Indian sitar.

paragraph: Section::::Instrumental style.:Ornamentation.

paragraph: Bashir's preferred improvisational type, the "taqsim" improvisation pulls its attractiveness out of the intelligent and strictly regulated ornamentation of melodies or familiar melodic fragments. Therefore a "taqsim" evolves out of different, but no less artful criteria, than in modern jazz, where an improvisation takes place inside of a relatively strict metric, harmonic, and formal raster. But similar to jazz-improvisation, some distinct patterns can be assigned to their originator. On this note, a connoisseur of Arabian music is able to recognize a lot of "bashirisms", analogue to a jazz-fan, who undoubtedly identifies the influence of Louis Armstrong or Charlie Parker in special melodic phrases.

paragraph: Section::::Instrumental style.:Expansion of the ambitus.

paragraph: As mentioned above, the oud belongs to the family of short scale lutes. The widest interval that can be stopped between the open string and the end of the fingerboard is a fifth (quint); though it is possible to play wider intervals on the same string by stopping tones on the top of the corpus. Although Bashir has not invented this slightly unorthodox technique, he has integrated it into his style in an exemplary manner.

paragraph: Also, before Bashir, the usage of flageolets did not belong to the traditional playing techniques of the oud, even though this technique actually is characteristic for stringed instruments.

paragraph: Section::::Instrumental style.:Foreign influences.

paragraph: Bashir's occasionally polemic engagement for the authentic means of expression of Arabian music not only resulted from a rigorous inner view. He was a comprehensive educated and interested musician, who showed a notedly open-mindedness for non-Arabian styles in his lifetime; whereas he paid special attention to European and northern Indian (Hindu music.)

paragraph: This profound knowledge enabled him to incorporate foreign influences into his music not as incoherent quotations, but to include them in a convincing way.

paragraph: Bashir's working mode is pointed out with an extra spectacular example: His composition "Al-Amira al-Andaluciyya" (“The Princess of Andalusia”), that can be heard on the duo-recording of Bashir and his son Omar, has an opening motif that is very unusual for its Arabian context.

paragraph: The C-major arpeggio (motif a) that opens the piece would be an extra banal phrase in European music, but played on the oud it represents a totally unusual musical gesture, because there are no such major triads of that form used in Arabian music. Then the playing around the note C (motif b) points to the musical connotation (Andalusia, for centuries a province of the caliphate, and homeland of the flamenco), that was intended by the composer. With the help of only two notes (D and B) the major triad changes into the Phrygian mode that is very typical for the flamenco, whereas the tremolo-like ornamentation of the leading D supports this effect. Then the line descending to G (motif c) establishes the key for the further improvisations. This key is called "maqam Hijaz Kar Kurd" and has the following (simplified) structure:

paragraph: The asymmetric setup of this scale requires a different leading of the ascending and descending melody lines, and is well suited for flamenco-like improvisations, because the flamenco style is characterized by a typical ambivalent and unstable reference to the major/minor-tonality. The last one naturally is unknown to Arabian music that has no harmony.

paragraph: During the progressing improvisations Bashir uses another virtuosity effect by playing many chords. These so-called rasgueados are an indispensable element of style of the flamenco guitar. But on the fretless oud it is very difficult to intonate them correctly.

paragraph: Section::::Influences and reception.

paragraph: Section::::Influences and reception.:Relevance for Arabian music.

paragraph: Munir Bashir emerged into the scene at a time that was anything but fortunate for Arabian music. Because of his professional experiences he was more conscious of these difficulties than many of his colleagues, who often tended towards retreating into niches or more or less resignedly accepting these conditions. Bernard Lewis, the British historian, refers to the musician as an example of a Middle Eastern, who has understood to meet the influence of the Western culture on the basis of equal collaboration. Bashir sought and found new possibilities of musical expression by standing up for the traditions of "his" music and by dealing with older forms.

paragraph: On a more technical level, Bashir put his improvisations in the context of "maqamat", which were never used outside of Iraq, or which fell into obscurity during the 20th century.

paragraph: Section::::Influences and reception.:Criticism.

paragraph: Bashir's integration of foreign elements of style led to a lack of understanding and criticism of the traditionalists. As reported by the music journalist Sami Asmar, Bashir was accused of chumming up to his western audience by preferentially making music in extra simple "maqamat". It was explicitly stated that Bashir abuses the "maqamat Rast" and "Shadd Araban" that way.

paragraph: Indeed it is right, that "maqam Rast" is a very basic scale in Arabian music, comparable to C-Major in western music. For western listeners this tonality – approximately the Dorian scale with quartertone intervals – is anything else but catchy. In "Shadd Araban" it is the use of two 1½ intervals, that makes the scale abstractly sounding for western ears.

paragraph: Apart from the sparsely convincing assumptions on which these criticisms are based, those are not supported by Bashir's recordings. In these recordings there are no signs of a preference for the aforementioned scales, and there is no evidence for other behaviour at Bashir's live performances. In contrast it is more easily verifiable that Bashir preferred even such scales, which enabled huge melodic freedom, and which implicate a strong tonal ambivalence for the European ear that is used to harmony – as shown above for the "Hijaz Kar Kurd".

paragraph: Section::::Honours.

paragraph: Bashir, especially in his latter years, received international honors for his musical opus and his engagement for the dialog of cultures. Amongst others he was vice president of the UNESCO International Music Council, knight of the French Legion of Honour, and secretary general of the Arabian music academy in Baghdad.

paragraph: Section::::Discography.

paragraph: BULLET::::- Recital – Solo de Luth Oud, Live in Geneva

paragraph: BULLET::::- Munir Bashir & the Iraqi Traditional Music Group

paragraph: BULLET::::- Recital; Solo de Luth Oud (Live in Geneva)

paragraph: BULLET::::- Maqamat

paragraph: BULLET::::- En Concert a Paris (Live in Paris)

paragraph: BULLET::::- Meditations

paragraph: BULLET::::- Flamenco Roots

paragraph: BULLET::::- Concert in Budapest

paragraph: BULLET::::- Raga Roots

paragraph: BULLET::::- Oud Around the Arab World

paragraph: BULLET::::- The Stockholm Recordings

paragraph: BULLET::::- Duo de 'Ud (with Omar Bashir)

paragraph: BULLET::::- L'Art du 'Ud (The Art of the Ud)

paragraph: Section::::Literature.

paragraph: BULLET::::- Sami Asmar: "The Musical Legacies Of Sayyid Makkawi, Munir Bashir and Walid Akel." in: "Al-Jadid. A Review and Record of Arab culture and arts." Los Angeles 4.1998, H 23.

paragraph: BULLET::::- Habib Hassan Touma (1996). "The Music of the Arabs", trans. Laurie Schwartz. Portland, Oregon: Amadeus Press. .

paragraph: Section::::See also.

paragraph: BULLET::::- Omar Bashir

paragraph: BULLET::::- Jamil Bachir

paragraph: Section::::External links.

paragraph: Section::::External links.:Music theory, biography.

paragraph: BULLET::::- Munir Bashir International Foundation

paragraph: BULLET::::- Munir Bashir Discography & Music

paragraph: BULLET::::- Website of the oud-expert Dr. David Parfitt

paragraph: BULLET::::- Comprehensive website about the oud

paragraph: BULLET::::- Excellent, easy to understand introduction of Arabian music theory

paragraph: BULLET::::- Encyclopedia of the Orient

paragraph: BULLET::::- Saramusik

paragraph: BULLET::::- Painting of swiss artist Otto Kohler

paragraph: Section::::External links.:Audio samples.

paragraph: BULLET::::- Excerpt of the duo-improvisation with Omar over the folk-song"Fog en-Nakhel"

description: Iraqi musician

wikidata_label: Munir Bashir

wikipedia_title: Munir Bashir


text: Generation of '36

text: Royal Spanish Academy

text: chair letter "E"

text: cartoonist

text: columnist

text: El Norte de Castilla

text: flora

text: fauna

text: Castile

text: hunting

text: Civil War

text: Spanish literature

text: Cannes Film Festival

text: Heinrich Böll

text: Graham Greene

text: Valladolid

text: María Setién

text: Adolfo Delibes

text: Cantabria

text: Molledo

text: Toulouse

text: Léo Delibes

text: Cantabria

text: Spanish Civil War

text: Navy

text: cruiser Canarias

text: Mallorca

text: cartoonist

text: El Norte de Castilla

text: Molledo

text: Cantabria

text: Premio Nadal

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text: Juan Delibes

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text: Castile and León

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text: José Zorrilla

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text: Premio Nadal

text: Premio Nacional de Narrativa

text: Premio Fastenrath

text: Royal Spanish Academy

text: Prince of Asturias Award

text: doctor "honoris causa"

text: University of Valladolid

text: Premio de las Letras de Castilla y León

text: Knight of Arts and Letters

text: French Republic

text: Complutense University of Madrid

text: Premio Ciudad de Barcelona

text: Madera de héroe

text: "Universidad del Sarre"

text: Premio Nacional de las Letras Españolas

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text: provincia de Valladolid

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text: University of Navarra

text: Premio Nacional de Narrativa

text: El hereje

text: "Medalla de Oro al Mérito en el Trabajo"

text: University of Salamanca

text: Molledo

text: Medalla de Oro de Castilla y León

text: Castilla y León

text: La sombra del ciprés es alargada

text: Premio Nadal

text: Aún es de día

text: El camino

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text: El loco

text: Mi idolatrado hijo Sisí

text: La partida

text: Envidia

text: Diario de un cazador

text: "Premio Nacional de Literatura"

text: Siestas con viento sur

text: Premio Fastenrath

text: Diario de un emigrante

text: La hoja roja

text: Las ratas

text: La caza de la perdiz roja

text: Viejas historias de Castilla la Vieja

text: USA y yo

text: El libro de la caza menor

text: Cinco horas con Mario

text: Parábola del náufrago

text: Con la escopeta al hombro

text: La mortaja

text: La primavera de Praga

text: Castilla en mi obra

text: La caza de España

text: El príncipe destronado

text: Las guerras de nuestros antepasados

text: Vivir al día

text: Un año de mi vida

text: Alegrías de la Caza

text: El disputado voto del señor Cayo

text: Aventuras, venturas y desventuras de un cazador a rabo

text: Un mundo que agoniza

text: Las perdices del domingo

text: Los santos inocentes

text: El otro fútbol

text: Cartas de amor de un sexagenario voluptuoso

text: La censura en los años cuarenta

text: El tesoro

text: Castilla habla

text: Tres pájaros de cuenta

text: Mis amigas las truchas

text: 377A, Madera de héroe

text: Mi querida bicicleta

text: Dos días de caza

text: Castilla, lo castellano y los castellanos

text: Mi vida al aire libre

text: Nacho, el mago

text: Pegar la hebra

text: El conejo

text: Señora de rojo sobre fondo gris

text: La vida sobre ruedas

text: El último coto

text: Un deporte de caballeros

text: 25 años de escopeta y pluma

text: Los niños

text: Diario de un jubilado

text: He dicho

text: El hereje

text: "Premio Nacional de Literatura"

text: Los estragos del tiempo

text: Castilla como problema

text: Delibes-Vergés. Correspondencia, 1948-1986

text: Miguel Delibes de Castro

text: Josefina Molina

text: Ana Mariscal

text: Antonio Giménez-Rico

text: Antonio Ferrandis

text: Amparo Soler Leal

text: Mónica Randall

text: Miguel Bosé

text: Antonio Mercero

text: Mario Camus

text: Francisco Rabal

text: Alfredo Landa

text: Antonio Giménez-Rico

text: Juan Luis Galiardo

text: Antonio Mercero

text: José Coronado

text: Luis Alcoriza

text: Antonio Giménez-Rico

text: Francesc Betriú

text: José Sazatornil

text: Antonio Resines

text: A biography of the author in "El Norte de Castilla"

text: Cátedra Miguel Delibes

text: Miguel Delibes at the Centro Virtual Cervantes

text: Special edition of Diario ABC.es on Miguel Delibes

text: Special edition of ELMUNDO.es on Miguel Delibes

text: Interview with Miguel Delibes in El País Semanal 2007

text: Miguel Delibes

text: E-book

categories: Spanish male novelists,Deaths from cancer in Spain,Spanish lawyers,Spanish novelists,21st-century novelists,2010 deaths,1920 births,20th-century Spanish novelists,Spanish people of the Spanish Civil War (National faction),Premio Cervantes winners,People from Valladolid,Deaths from colorectal cancer,20th-century Spanish male writers,Spanish people of French descent,Members of the Royal Spanish Academy

paragraph: Miguel Delibes

paragraph: Miguel Delibes Setién (; 17 October 1920 – 12 March 2010) was a Spanish novelist, journalist and newspaper editor associated with the Generation of '36 movement. From 1975 until his death, he was a member of the Royal Spanish Academy, where he occupied chair letter "E". Licensed in commerce, he began his career as a cartoonist and columnist. He later became the editor for the regional newspaper "El Norte de Castilla" before gradually devoting himself exclusively to writing novels.

paragraph: He was a connoisseur of the flora and fauna of Castile and was passionate about hunting and the countryside. Therefore, these were common themes in his writing, and he often wrote from the perspective of a city-dweller who had not lost touch with the rural world.

paragraph: He was one of the leading figures of post-Civil War Spanish literature, winning numerous literary prizes. Several of his works have been adapted into plays or have been turned into films, winning awards at the Cannes Film Festival among others. He has been ranked with Heinrich Böll and Graham Greene as one of the most prominent Catholic writers of the second half of the twentieth century. He was deeply affected by the death of his wife in 1974. In 1998 he was diagnosed with colon cancer, from which he never fully recovered. He died in 2010.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and training.

paragraph: Miguel Delibes was born in Valladolid on 17 October 1920, the third of eight children from the marriage between María Setién and Adolfo Delibes. His father was born and died in the Cantabrian town Molledo, where Miguel spent many summers. The writer was named an adopted son of Valladolid in 2009. The name "Delibes" was of French origin and came from Toulouse. Miguel's grandfather was a brother of the French composer Léo Delibes, and had moved to Spain to participate in the construction of the railway in Cantabria. His father was a law professor at the Valladolid Business School. Miguel attended the College of Our Lady of Lourdes in Valladolid. After the outbreak of the Spanish Civil War, he enlisted in the Navy on the Nationalist side. He served on the cruiser Canarias, which operated in the Mallorcan region. At the end of the war in 1939, he returned to his home town, where he studied commerce and law. He then enrolled at the "Escuela de Artes y Oficios" (School of Arts and Crafts) of Valladolid, where he honed his artistic skills. In 1941 he secured a job as a cartoonist with the leading newspaper of Valladolid, "El Norte de Castilla".

paragraph: On April 23, 1946, he married Ángeles de Castro, who later became one of his greatest literary inspirations. They spent their honeymoon in Molledo, Cantabria.

paragraph: Section::::Biography.:Early literary career.

paragraph: After his marriage, Delibes' literary career really started to take off, beginning a three-year period that defined his career. In 1947 he began writing his first novel, "La sombra del ciprés es alargada ("The cypress casts a long shadow), which won the "Premio Nadal" the following year, marking his emergence on the Spanish literary scene. His novel "Aún es de día" (It is still daytime) was published, heavily censored, in 1948.

paragraph: His family grew during this same period. His son Miguel, who would later become a famous biologist, was born in 1947. His daughter Ángeles, who would also become a renowned biologist and researcher, was born the following year, and in 1949 his third child, Germán, was born.

paragraph: In 1950, a new stage in the writer's literary career commenced. After suffering a bout of tuberculosis, he published "El camino" (The road), his third novel. The novel tells the discovery of life and the experiences of a boy who moves from the countryside to the city. The work constituted his final consecration in the Spanish post-war narrative. That year saw the birth of his daughter Elisa, who later became a graduate of Hispanic and French Studies.

paragraph: In 1952, he was appointed deputy director of the newspaper "El Norte de Castilla", and his battles with censorship became increasingly direct and frequent. The writer entered a new phase in his life in which he would publish a new work virtually every year, namely: "Mi idolatrado hijo Sisí" (My adored son Sissi) 1953, "La partida" (The departure) 1954, "Diario de un cazador "(Diary of a hunter) 1955, "Premio Nacional de Narrativa" (National Prize for Fiction), "Un novelista descubre América" (A novelist discovers America) 1956, "Siestas con viento sur" (Siestas with southern wind) 1957, "Premio Fastenrath" (Fastenrath Award), "Diario de un emigrante" (Diary of an emigrant) 1958, and "La hoja roja" (The red leaf), 1959. This last novel was existentialist in content and deals with a photographer who recalls his life on the brink of his retirement. In 1956, his son Juan Delibes was born. He would become a biologist like his siblings and fan of hunting and fishing like his father. In 1958, the writer was appointed director of "El Norte de Castilla".

paragraph: Section::::Biography.:Literary apogee.

paragraph: The 1960s represented the heyday of Delibes' literary career. The period was marked by the birth of his sixth son, Adolfo (later a graduate in biology) and a visit to Germany, where he visited several universities. The literary period opened with the publication of "Viejas historias de Castilla la Vieja" (Old tales of Old Castile) in 1960, and" Por esos mundos" (In these worlds) in 1961. In 1962, Delibes published "Las ratas" (The rats), one of his masterpieces. It constructs a story from a series of autobiographical anecdotes which evoke the rural environment of a Castilian village that has disappeared. The book won the "Premio de la Crítica" (Critics Award for Castilian fiction). In the same year Camino, the last of his seven children, would be born. Camino later graduated in Philosophy and Letters. Also in that year, the film version of "El camino", directed by Ana Mariscal, was shot. 1963 was a turbulent year: Delibes resigned on June 8th as director of "El Norte de Castilla" after several disagreements with Manuel Fraga, Minister of Information and Tourism. In 1964, he spent six months in the United States as a visiting professor in the Department of Foreign Languages and Literature of the University of Maryland. After his return, he wrote and published "Cinco horas con Mario" (Five hours with Mario), which is considered his masterpiece. The novel is the monologue of a woman who holds a wake for her late husband while she recounts the memories of him. Other books published upon his return from the US included "USA y yo" (The United States and I) and "La milana". In the following years he visited Czechoslovakia and published "Parábola del náufrago" (literally: "The parable of the castaway", translated into English as "The hedge" by Frances M. Lopez-Morillas). Later in the 1970s, he followed up with several books about hunting, an activity about which he was passionate, and stories. Subsequently, he published "Un año de mi vida" (A year of my life), a personal diary.

paragraph: On 1 February 1973, Miguel Delibes was elected to the Royal Spanish Academy, occupying chair "E", which was left vacant after the death of Julio Guillén. That same year, in December, he was also elected to the Hispanic Society of America. Before the end of the year, he published" El príncipe destronado" (The dethroned prince), his eleventh novel. On 22 November 1974 his wife, Angela de Castro, died at the age of 50. Her death profoundly marked the writer for the rest of his life.

paragraph: Finally, on 25 May 1975, he delivered his inaugural address to the Royal Spanish Academy. Damaso Alonso, one of the leading members of the Generation of '27 and then president of the Royal Spanish Academy handed the academic medal to Miguel Delibes His induction speech, which dealt with "The meaning of progress from my work," which he later edited into a book entitled "Un mundo que agoniza" (A world that is agonizing). That same year, his twelfth novel "Las guerras de nuestros antepasados" (The wars of our ancestors) saw the light. In the next three years, he published several books on hunting and his only book about fishing," Mis amigas las truchas" (My friends the trouts). This time period closed with the publication of "El disputado voto del señor Cayo" (The disputed vote of Mr. Cayo), his thirteenth novel. In 1979, the stage adaptation of "Five hours with Mario" premiered in Spain starring the leading actress of Valladolid Lola Herrera. Due to its success, the play was revived several times. That year, he released "Castilla, lo castellano, los castellanos" (Castile, the Castillan, the Castillans), a narrative anthology.

paragraph: Section::::Biography.:Years 1980 and 1990: awards.

paragraph: In 1980, the International Booksellers Seventh Congress that was held in Valladolid paid tribute to the writer. The big title of this period was" Los santos inocentes" (The holy innocents), published in 1981. The book is a form of social radiography that recounts the degradation of a rural family through the actions of the caciques of rural Extremadura. In 1982, he received the Prince of Asturias Award for Literature, sharing it with Gonzalo Torrente Ballester; and participated in the Congress "A literature for man", held in Reggio Emilia, Italy. During this decade he published books on hunting, stories, and collections of newspaper articles. In 1983, he was inducted as Doctor honoris causa by the University of Valladolid. The following year, the "Junta" of Castile and León awarded him the Literature Prize. In the same year, Miguel Delibes was named "author of the year" by the Spanish booksellers who bestowed the Golden Book award on him in recognition. At the end of the year, "The holy innocents" was adapted into a film. The actors Alfredo Landa and Francisco Rabal received the actor's award at the Cannes Film Festival for their roles in the movie. In 1985, he published "El tesoro" (The treasure) and received the Knight of Arts and Letters of the French Republic. In the following years he was named a favorite son of Valladolid, he published "Castilla habla" (Castile speaks), got an honorary doctorate of the Complutense University of Madrid and attended the theatrical adaptation of works like "The red leaf" and "The wars of our ancestors". His 1987 book "Madera de héroe" (The stuff of heroes) deals with the notion of heroism during the Spanish Civil War. It won the Premio Ciudad de Barcelona.

paragraph: On 7 May 1990, he was awarded an honorary doctorate by Saarland University, Germany. A year later, on 30 May 1991, the Ministry of Culture awarded him the National Prize for Spanish Literature. The University of Málaga paid homage to him at the V Contemporary Spanish Literature Congress, under the title "Miguel Delibes: the writer, his work and readers." That year, he published" Señora de rojo sobre fondo gris" (Lady in red on a grey background), a clear evocation of his wife. In the following year the "Meeting with Miguel Delibes" was held in Madrid. It was organized on the occasion of the National Prize for Spanish Literature and included a total of seven conferences and four round tables that dealt with the works of Miguel Delibes.

paragraph: Section::::Biography.:Literary halt and final years.

paragraph: His last major work, "El hereje" (The heretic), a tribute to Valladolid, was published in 1998 and was awarded the National Fiction Prize. When receiving the award, the author stated that at 79 years of age he "had hung up his writing tackle." At the beginning of the millennium, the Miguel Delibes Chair was founded. The chair has its seat at the universities of New York and Valladolid, and has as its objectives to promote the study of contemporary Spanish literature, make this literature known in the United States and disseminate it through new technologies.

paragraph: Following the publication of "The heretic" his writing career came virtually to a halt, mainly because of the colon cancer that affected the writer during the final phase of writing his last great novel. He was largely disabled and fell victim to an ever-greater apathy. His last book, "La Tierra Herida" (The wounded earth) published in 2005, takes the form of a dialogue between him and his eldest son, Miguel Delibes, the former head of "Doñana" national park. The book is a moving account of climate change. In 2007 he received the Quijote Prize for Spanish Literature, although in later years his literary production was practically nil, with just a few titles, such as "De Valladolid "(From Valladolid). Since he was disabled, Juan Carlos I and Sofia of Greece, the king and queen of Spain, personally visited the writer at his home in Valladolid after he was awarded the Vocento Prize for Human Values. He was recognized by his city with the creation of the Route of the Heretic based on his novel and the construction of the "Centro Cultural Miguel Delibes", which is both a conservatory and auditorium as well as a convention center.

paragraph: The president of the autonomous community of Castile and León gave him in November 2009 the Gold Medal of Castile and León in recognition of "his defense of Castillan" and described the author as a "master storyteller".

paragraph: Similarly, the "Junta" of Castile and León as well as numerous Spanish and international cultural and intellectual institutions proposed him repeatedly as a candidate for the Nobel Prize, the last time by the Society of Authors and Publishers in 2010 along with Ernesto Cardenal and Ernesto Sabato.

paragraph: Section::::Biography.:Politics.

paragraph: Although Delibes fought with the Nationalists during the Spanish Civil War, he was appalled by the level of repression, turned against Franco, and worked to restore democracy to Spain. In 1963, he was forced to resign from his position as director of the newspaper "El Norte de Castilla" for refusing to follow official instructions limiting the freedom of the press. In Delibes's view, the Reformation had enriched the Catholic faith. He held the opinion that the Spanish Civil War could've been avoided if the Church had a reformist pope like John XXIII who reconciled with modernity at the time. He has been described as a liberal Catholic, who sought to find a middle ground in between liberation theology and the authoritarian Catholicism of Franco.

paragraph: Section::::Biography.:Death.

paragraph: During the early days of March 2010 his health worsened, and on 11 March, the writer was in critical condition, conscious but heavily sedated, and his family expected his death within hours. Miguel Delibes finally died at his home in Valladolid early in the morning of March 12, 2010, at the age of 89 years as a result of the colon cancer that was first diagnosed in 1998 and from which he had never fully recovered. His funeral chapel was installed that morning in the reception room of the Town Hall of Valladolid. It was visited by such personalities as Lola Herrera, Concha Velasco, the Deputy Prime Minister Maria Teresa Fernandez de la Vega, the President of Castile and León Juan Vicente Herrera and the Minister of Culture Ángeles González-Sinde, among others, as well as over 18,000 people.

paragraph: His funeral was held in the morning of March 13 in the Cathedral of Valladolid. His remains were cremated and buried in the Pantheon of Illustrious Men of Valladolid among personalities such as José Zorrilla and Rosa Chacel. Valladolid City Council granted the privilege of moving the cremated remains of Ángeles, his wife, to that cemetery to bury with Delibes, thus honouring his long-expressed wish.

paragraph: Section::::Biography.:Awards.

paragraph: BULLET::::- Premio Nadal, for "La sombra del ciprés es alargada" (1947)"."

paragraph: BULLET::::- Premio Nacional de Narrativa, for "Diario de un cazador" (1955)"."

paragraph: BULLET::::- Premio Fastenrath of the Royal Spanish Academy, for "Siestas con viento sur" (1957)"."

paragraph: BULLET::::- Prince of Asturias Award for Literature (1982).

paragraph: BULLET::::- Awarded title of doctor "honoris causa" by the University of Valladolid (1983).

paragraph: BULLET::::- "Premio de las Letras de Castilla y León" (1984).

paragraph: BULLET::::- Knight of Arts and Letters of the French Republic (1985).

paragraph: BULLET::::- Named favorite son of Valladolid (1986).

paragraph: BULLET::::- Awarded title of doctor "honoris causa" by the Complutense University of Madrid (June 1987).

paragraph: BULLET::::- "Premio Ciudad de Barcelona", for "Madera de héroe"".

paragraph: BULLET::::- "Investido" doctor "honoris causa" by the "Universidad del Sarre" (1990).

paragraph: BULLET::::- "Premio Nacional de las Letras Españolas" (1991).

paragraph: BULLET::::- "Premio Miguel de Cervantes" (1993).

paragraph: BULLET::::- "Medalla de Oro de la provincia de Valladolid" (1993).

paragraph: BULLET::::- Awarded title of doctor "honoris causa" by the Universidad de Alcalá de Henares (1996).

paragraph: BULLET::::- Premio Luka Brajnovic for Communication, awarded by the University of Navarra (1997).

paragraph: BULLET::::- "Premio Nacional de Narrativa", for "El hereje"" (1999).

paragraph: BULLET::::- "Medalla de Oro al Mérito en el Trabajo" (1999).

paragraph: BULLET::::- "Medalla de Oro al Mérito Turístico" of the Government of Cantabria (2006).

paragraph: BULLET::::- Awarded title of "honoris causa" by the University of Salamanca (2008).

paragraph: BULLET::::- Named adopted son of Molledo (2009).

paragraph: BULLET::::- "Medalla de Oro de Castilla y León" by the President of the "Junta of Castilla y León" (2009).

paragraph: BULLET::::- "Medalla de Oro al Mérito Turístico" of the Government of Cantabria (2009).

paragraph: Section::::Works.

paragraph: BULLET::::- "La sombra del ciprés es alargada" (1947). "Premio Nadal".

paragraph: BULLET::::- "Aún es de día" (1949).

paragraph: BULLET::::- "El camino" (1950).

paragraph: BULLET::::- "La barbería."

paragraph: BULLET::::- "El loco" (1953).

paragraph: BULLET::::- "Mi idolatrado hijo Sisí" (1953).

paragraph: BULLET::::- "La partida" (1954).

paragraph: BULLET::::- "Envidia (1955)."

paragraph: BULLET::::- "Diario de un cazador" (1955). "Premio Nacional de Literatura".

paragraph: BULLET::::- "Siestas con viento sur" (1957). Premio Fastenrath.

paragraph: BULLET::::- "Diario de un emigrante" (1958).

paragraph: BULLET::::- "La hoja roja" (1959). "Premio de la Fundación Juan March".

paragraph: BULLET::::- "Las ratas" (1962). "Premio de la Crítica."

paragraph: BULLET::::- "" (1963).

paragraph: BULLET::::- "La caza de la perdiz roja" (1963).

paragraph: BULLET::::- "Viejas historias de Castilla la Vieja" (1964).

paragraph: BULLET::::- "USA y yo" (1966).

paragraph: BULLET::::- "El libro de la caza menor" (1966).

paragraph: BULLET::::- "Cinco horas con Mario" (1966).

paragraph: BULLET::::- "Parábola del náufrago" (1969).

paragraph: BULLET::::- "" (1970).

paragraph: BULLET::::- "Con la escopeta al hombro" (1970).

paragraph: BULLET::::- "La mortaja" (1970).

paragraph: BULLET::::- "La primavera de Praga" (1970).

paragraph: BULLET::::- "Castilla en mi obra" (1972).

paragraph: BULLET::::- "La caza de España" (1972).

paragraph: BULLET::::- "El príncipe destronado" (1973).

paragraph: BULLET::::- "Las guerras de nuestros antepasados" (1975).

paragraph: BULLET::::- "Vivir al día" (1975).

paragraph: BULLET::::- "Un año de mi vida" (1975).

paragraph: BULLET::::- "" (1976).

paragraph: BULLET::::- "Alegrías de la Caza" (1977).

paragraph: BULLET::::- "El disputado voto del señor Cayo" (1978).

paragraph: BULLET::::- "Aventuras, venturas y desventuras de un cazador a rabo" (1978).

paragraph: BULLET::::- "Un mundo que agoniza" (1979).

paragraph: BULLET::::- "Las perdices del domingo" (1981).

paragraph: BULLET::::- "Los santos inocentes" (1982).

paragraph: BULLET::::- "El otro fútbol" (1982).

paragraph: BULLET::::- "" (1982).

paragraph: BULLET::::- "Cartas de amor de un sexagenario voluptuoso" (1983).

paragraph: BULLET::::- "La censura en los años cuarenta" (1984).

paragraph: BULLET::::- "El tesoro" (1985).

paragraph: BULLET::::- "Castilla habla" (1986).

paragraph: BULLET::::- "Tres pájaros de cuenta" (1987).

paragraph: BULLET::::- "Mis amigas las truchas" (1987).

paragraph: BULLET::::- "377A, Madera de héroe" (1987).

paragraph: BULLET::::- "Mi querida bicicleta" (1988).

paragraph: BULLET::::- "Dos días de caza" (1988).

paragraph: BULLET::::- "Castilla, lo castellano y los castellanos" (1988).

paragraph: BULLET::::- "Mi vida al aire libre" (1989).

paragraph: BULLET::::- "Nacho, el mago" (1990).

paragraph: BULLET::::- "Pegar la hebra" (1991).

paragraph: BULLET::::- "El conejo" (1991).

paragraph: BULLET::::- "Señora de rojo sobre fondo gris" (1991).

paragraph: BULLET::::- "La vida sobre ruedas" (1992).

paragraph: BULLET::::- "El último coto" (1992).

paragraph: BULLET::::- "Un deporte de caballeros" (1993).

paragraph: BULLET::::- "25 años de escopeta y pluma" (1995).

paragraph: BULLET::::- "Los niños" (1995).

paragraph: BULLET::::- "Diario de un jubilado" (1996).

paragraph: BULLET::::- "He dicho" (1997).

paragraph: BULLET::::- "El hereje" (1998). "Premio Nacional de Literatura".

paragraph: BULLET::::- "Los estragos del tiempo" (1999).

paragraph: BULLET::::- "Castilla como problema" (2001).

paragraph: BULLET::::- "Delibes-Vergés. Correspondencia, 1948-1986" (2002).

paragraph: BULLET::::- "" (2004).

paragraph: BULLET::::- "" (2005). Written together with his son Miguel Delibes de Castro.

paragraph: Section::::Works.:Television adaptations.

paragraph: BULLET::::- "El camino", five episodes directed by Josefina Molina and broadcast on Spanish television in April 1978.

paragraph: Section::::Works.:Movie adaptations.

paragraph: The following novels of Miguel Delibes have been adapted for the cinema:

paragraph: BULLET::::- "El camino", Ana Mariscal (1964), Cast: Julia Caba Alba, Joaquín Roa, Mary Delgado and Maruchi Fresno

paragraph: BULLET::::- "Mi idolatrado hijo Sisí", adapted as "Retrato de familia", Antonio Giménez-Rico (1976). Cast: Antonio Ferrandis, Amparo Soler Leal, Mónica Randall o Miguel Bosé.

paragraph: BULLET::::- "El príncipe destronado", adapted as "La guerra de papá", Antonio Mercero (1977).

paragraph: BULLET::::- "Los santos inocentes", Mario Camus (1984). Cannes prize for Francisco Rabal and Alfredo Landa.

paragraph: BULLET::::- "El disputado voto del señor Cayo", Antonio Giménez-Rico (1986). With Francisco Rabal and Juan Luis Galiardo.

paragraph: BULLET::::- "El tesoro", Antonio Mercero (1988). One of the first movies with José Coronado.

paragraph: BULLET::::- "La sombra del ciprés es alargada", Luis Alcoriza (1990).

paragraph: BULLET::::- "Las ratas", Antonio Giménez-Rico (1996).

paragraph: BULLET::::- "Diario de un jubilado", adapted as "Una pareja perfecta", Francesc Betriú (1998). With José Sazatornil "Saza" and Antonio Resines.

paragraph: Section::::Honours.

paragraph: BULLET::::- Gold Medal of Merit in Labour (Kingdom of Spain, 30 April 1999).

paragraph: Section::::External links.

paragraph: BULLET::::- Video: Entrevista a Miguel Delibes: "De pequeño me turbaba la idea de que mi padre muriera" El escritor explica por qué la muerte siempre ha estado tan presente en toda su obra

paragraph: BULLET::::- Video: Entrevista a Miguel Delibes: "La televisión ha sustituido a la figura de el abuelo como contador de historias"

paragraph: BULLET::::- Watch the series "El camino", a close adaptation of the novel of Miguel Delibes directed by Josefina Molina

paragraph: BULLET::::- A biography of the author in "El Norte de Castilla"

paragraph: BULLET::::- Cátedra Miguel Delibes

paragraph: BULLET::::- Miguel Delibes at the Centro Virtual Cervantes

paragraph: BULLET::::- Special edition of Diario ABC.es on Miguel Delibes

paragraph: BULLET::::- Special edition of ELMUNDO.es on Miguel Delibes

paragraph: BULLET::::- Interview with Miguel Delibes in El País Semanal 2007

paragraph: BULLET::::- Miguel Delibes E-books

description: Spanish writer

wikidata_label: Miguel Delibes

wikipedia_title: Miguel Delibes


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text: ARMS Concert

text: Multiple Sclerosis

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text: People Get Ready

text: MTV

text: love hate relationship

text: Twins

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text: Jeff Beck's Guitar Shop

text: fingerstyle

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text: tinnitus

text: Jon Bon Jovi

text: Blaze of Glory

text: title song

text: Roger Waters

text: Amused to Death

text: Kate Bush

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text: Frankie's House

text: Crazy Legs

text: Gene Vincent and the Blue Caps

text: Cliff Gallup

text: Guns N' Roses

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text: cymbal

text: Rock and Roll Hall of Fame

text: Paul Rodgers

text: Bad Company

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text: Jennifer Batten

text: Grammy Award

text: You Had It Coming

text: Jeff

text: B.B. King

text: Eric Clapton

text: Crossroads Guitar Festival

text: "54-46 Was My Number"

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text: covers

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text: Beach Boys

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text: John McLaughlin

text: world music

text: Truth

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text: Rolling Stone

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text: pick

text: vibrato bar

text: Fender Stratocaster

text: wah-wah pedal

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text: Gibson Les Paul

text: Fender

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text: hot rod

text: Wadhurst

text: Best Rock Instrumental Performance

text: 1986 Grammys

text: Truth

text: Beck-Ola

text: Rough and Ready

text: Jeff Beck Group

text: Blow by Blow

text: Wired

text: There & Back

text: Flash

text: Jeff Beck's Guitar Shop

text: Crazy Legs

text: Who Else!

text: You Had It Coming

text: Jeff

text: Emotion & Commotion

text: Loud Hailer

text: Beck, Bogert & Appice

text: Frankie's House

text: Jeff Beck at Epic Records

text: Jeff Beck 1954 Les Paul Oxblood

text: Jeff Beck unofficial website

categories: The Yardbirds members,English blues musicians,Musicians from London,English songwriters,Epic Records artists,20th-century English musicians,People from Wallington, London,21st-century English musicians,Beck, Bogert & Appice members,British rhythm and blues boom musicians,Grammy Award winners,The Honeydrippers members,English rock guitarists,1944 births,EMI Records artists,Lead guitarists,Living people,Alumni of Wimbledon College of Art,English male guitarists,English blues guitarists,Screaming Lord Sutch and the Savages members,Atco Records artists,Fingerstyle guitarists,Blues rock musicians,The Jeff Beck Group members

paragraph: Jeff Beck

paragraph: Geoffrey Arnold Beck (born 24 June 1944) is an English rock guitarist. He is one of the three noted guitarists to have played with the Yardbirds (the other two being Eric Clapton and Jimmy Page). Beck also formed the Jeff Beck Group and with Tim Bogert and Carmine Appice, he formed Beck, Bogert & Appice.

paragraph: Much of Beck's recorded output has been instrumental, with a focus on innovative sound, and his releases have spanned genres ranging from blues rock, hard rock, and an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained the sustained commercial success of many of his contemporaries and bandmates. Beck appears on albums by Rod Stewart, Mick Jagger, Tina Turner, Morrissey, Donovan, Diana Ross, Jon Bon Jovi, Malcolm McLaren, Kate Bush, Roger Waters, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian May, Roger Taylor, Stanley Clarke, Screaming Lord Sutch, ZZ Top, and Toots and the Maytals.

paragraph: He was ranked fifth in "Rolling Stone's" list of the "100 Greatest Guitarists of All Time" and the magazine, upon whose cover Beck has appeared three times, has described him as "one of the most influential lead guitarists in rock". He is often called a "guitarist's guitarist". Beck has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Best Pop Instrumental Performance once. In 2014 he received the British Academy's Ivor Novello Award for Outstanding Contribution to British Music. Beck has been inducted into the Rock and Roll Hall of Fame twice: as a member of The Yardbirds (1992) and as a solo artist (2009).

paragraph: Section::::Early life.

paragraph: Geoffrey Arnold Beck was born on 24 June 1944 to Arnold and Ethel Beck at 206 Demesne Road, Wallington, England. As a 10-year-old, Beck sang in a church choir. He attended Sutton Manor School and Sutton East County Secondary Modern School.

paragraph: Beck has cited Les Paul as the first electric guitar player who impressed him. Beck has said that he first heard an electric guitar when he was 6 years old and heard Paul playing "How High the Moon" on the radio. He asked his mother what it was. After she replied it was an electric guitar and was all tricks, he said, "That's for me". Cliff Gallup, lead guitarist with Gene Vincent and the Blue Caps, was also an early musical influence, followed by B.B. King and Steve Cropper.

paragraph: As a teenager he learned to play on a borrowed guitar and made several attempts to build his own instrument, first by gluing and bolting together cigar boxes for the body and an unsanded fence-post for the neck with model aircraft control-lines and frets simply painted on. When fabricating a neck for his next try he attempted to use measurements for a bass guitar.

paragraph: Upon leaving school, he attended Wimbledon College of Art, after which he was briefly employed as a painter and decorator, a groundsman on a golf course and a car paint-sprayer. Beck's sister Annetta introduced him to Jimmy Page when both were teenagers.

paragraph: Section::::Career.

paragraph: While still attending Wimbledon College of Art, Beck was playing in a succession of groups, including Screaming Lord Sutch and the Savages during 1962 when they recorded "Dracula's Daughter"/"Come Back Baby" for Oriole Records.

paragraph: In 1963, after Ian Stewart of the Rolling Stones introduced him to R&B, he formed the Nightshift with whom he played at the 100 Club in Oxford Street, and recorded a single, "Stormy Monday"/"That's My Story", on the Piccadilly label.

paragraph: Beck left Nightshift to join the Tridents in October 1964. The Tridents played at the Walton Hop in Walton-on-Thames, and as the backing band for the Walton Hop talent show. Beck joined the Rumbles, a Croydon band, in 1963 for a short period as lead guitarist, playing Gene Vincent and Buddy Holly songs, displaying a talent for mimicking guitar styles. Later in 1963 he joined the Tridents, a band from the Chiswick area. "They were really my scene because they were playing flat-out R&B, like Jimmy Reed stuff, and we supercharged it all up and made it really rocky. I got off on that, even though it was only twelve-bar blues." He was a session guitarist on a 1964 Parlophone single by the Fitz and Startz titled "I'm Not Running Away", with B-side "So Sweet".

paragraph: In March 1965, Beck was recruited by the Yardbirds to succeed Eric Clapton on the recommendation of fellow session musician Jimmy Page, who had been their initial choice. The Yardbirds recorded most of their Top 40 hit songs during Beck's short but significant 20-month tenure with the band allowing him only one full album, which became known as "Roger the Engineer" (titled "Over Under Sideways Down" in the United States), released in 1966. Beck was actually pictured on the cover of "For Your Love", which was released by the Yardbirds' American label in June 1965, though Clapton played guitar on most of the songs. From September to November 1966, Beck shared lead guitar duties in the Yardbirds with Page, who initially joined as a bass player in June that year. A clip of this iteration of the band can be seen in the 1966 British film "Blow Up".

paragraph: Beck was fired in the middle of a U.S. tour for being a consistent no-show—as well as difficulties caused by his perfectionism and explosive temper. After leaving the Yardbirds, Beck recorded the one-off "Beck's Bolero" (with Jimmy Page, John Paul Jones, Nicky Hopkins and Keith Moon) and two solo hit singles in the UK, "Hi Ho Silver Lining" and "Tallyman". He then formed the Jeff Beck Group, which briefly featured former Shadow Jet Harris on bass, Rod Stewart on vocals, Ronnie Wood firstly on rhythm guitar and later bass, Nicky Hopkins on piano and, after a series of drummers, eventually Micky Waller in early 1967.

paragraph: The group produced two albums for Columbia Records (Epic in the United States): "Truth" (August 1968) and "Beck-Ola" (July 1969). "Truth," released five months before the first Led Zeppelin album, features "You Shook Me", a song written and first recorded by Muddy Waters, also covered on the Led Zeppelin debut with a very similar arrangement. It sold well (reaching No. 15 on the "Billboard" charts). "Beck-Ola" saw drummer Micky Waller replaced by Tony Newman, and, while well-received, was less successful both commercially and critically. Resentment, coupled with touring incidents, led the group to dissolve in July 1969.

paragraph: In his autobiography, Nick Mason recalls that during 1967 Pink Floyd had wanted to recruit Beck to be its guitarist after the departure of Syd Barrett but "None of us had the nerve to ask him." In 1969, following the death of Brian Jones, Beck was approached about joining the Rolling Stones.

paragraph: After the break-up of his group, Beck took part in the "Music from Free Creek" "super session" project, billed as "A.N. Other" and contributed lead guitar on four songs, including one co-written by him. In September 1969, he teamed with the rhythm section of Vanilla Fudge: bassist Tim Bogert and drummer Carmine Appice (when they were in England to resolve contractual issues), but when Beck fractured his skull in a car accident near Maidstone in December the plan was postponed for two and a half years, during which time Bogert and Appice formed Cactus. Beck later remarked on the 1960s period of his life: "Everyone thinks of the 1960s as something they really weren't. It was the frustration period of my life. The electronic equipment just wasn't up to the sounds I had in my head."

paragraph: In 1970, when Beck had regained his health, he set about forming a band with drummer Cozy Powell. Beck, Powell and producer Mickie Most flew to the United States and recorded several tracks at Motown's famed Studio A in Hitsville U.S.A. with the Funk Brothers, Motown's in-house band, but the results remained unreleased. By April 1971 Beck had completed the line-up of this new group with guitarist/vocalist Bobby Tench, keyboard player Max Middleton and bassist Clive Chaman. The new band performed as "the Jeff Beck Group" but had a substantially different sound from the first line-up.

paragraph: "Rough and Ready" (October 1971), the first album they recorded, on which Beck wrote or co-wrote six of the album's seven tracks (the exception being written by Middleton), included elements of soul, rhythm-and-blues and jazz, foreshadowing the direction Beck's music would take later in the decade.

paragraph: A second album "Jeff Beck Group" (July 1972) was recorded at TMI studios in Memphis, Tennessee with the same personnel. Beck employed Steve Cropper as producer and the album displayed a strong soul influence, five of the nine tracks being covers of songs by American artists. One, "I Got to Have a Song", was the first of four Stevie Wonder compositions covered by Beck. Shortly after the release of the "Jeff Beck Group" album, the band was dissolved and Beck's management put out the statement that: "The fusion of the musical styles of the various members has been successful within the terms of individual musicians, but they didn't feel it had led to the creation of a new musical style with the strength they had originally sought."

paragraph: Beck then started collaborating with bassist Tim Bogert and drummer Carmine Appice, who became available following the demise of Cactus but continued touring as the Jeff Beck Group in August 1972, to fulfill contractual obligations with his promoter, with a line-up including Bogert, Appice, Max Middleton and vocalist Kim Milford. After six appearances Milford was replaced by Bobby Tench, who was flown in from the UK for the "Arie Crown Theatre" Chicago performance and the rest of the tour, which concluded at the Paramount North West Theatre, Seattle. After the tour Tench and Middleton left the band and the power trio Beck, Bogert & Appice appeared: Appice took on the role of vocalist with Bogert and Beck contributing occasionally.

paragraph: They were included on the bill for "Rock at The Oval" in September 1972, still as "the Jeff Beck Group," which marked the start of a tour schedule of UK, the Netherlands and Germany. Another U.S. tour began in October 1972, starting at the Hollywood Sportatorium Florida and concluding on 11 November 1972 at The Warehouse, New Orleans. In April 1973 the album "Beck, Bogert & Appice" was released (on Epic Records). While critics acknowledged the band's instrumental prowess the album was not commercially well received except for its cover of Stevie Wonder's hit "Superstition".

paragraph: On 3 July 1973 Beck joined David Bowie onstage to perform "The Jean Genie"/"Love Me Do" and "Around and Around." The show was recorded and filmed, but none of the released editions included Beck. During October 1973 Beck recorded tracks for Michael Fennelly's album "Lane Changer" and attended sessions with Hummingbird, a band derived from the Jeff Beck Group, but did not to contribute to their eponymous first album.

paragraph: Early in January 1974 Beck, Bogert & Appice played at the Rainbow Theatre, as part of a European tour. The concert was broadcast in full on the US show "Rock Around the World" in September of the same year. This last recorded work by the band previewed material intended for a second studio album, included on the bootleg "At Last Rainbow". The tracks "Blues Deluxe" and "BBA Boogie" from this concert were later included on the Jeff Beck compilation "Beckology" (1991).

paragraph: Beck, Bogert & Appice dissolved in April 1974 before their second studio album (produced by Jimmy Miller) was finished. Their live album "Beck, Bogert & Appice Live in Japan", recorded during their 1973 tour of Japan, was not released until February 1975 by Epic/Sony.

paragraph: After a few months Beck entered Underhill Studio and met with the group Upp, whom he recruited as backing band for his appearance on the BBC TV programme "Guitar Workshop" in August 1974. Beck produced and played on their self-titled debut album and their second album "This Way Upp", though his contributions to the second album went uncredited. In October Beck began to record instrumentals at AIR Studios with Max Middleton, bassist Phil Chen and drummer Richard Bailey, using George Martin as producer and arranger.

paragraph: Jeff Beck's solo album "Blow by Blow" (March 1975) evolved from these sessions and showcased Beck's technical prowess in jazz-rock. The album reached number four in the charts and is Beck's most commercially successful release. Beck, fastidious about overdubs and often dissatisfied with his solos, often returned to AIR Studios until he was satisfied. A couple of months after the sessions had finished producer George Martin received a telephone call from Beck, who wanted to record a solo section again. Bemused, Martin replied: "I'm sorry, Jeff, but the record is in the shops!"

paragraph: Beck put together a live band for a US tour, preceded by a small and unannounced gig at The Newlands Tavern in Peckham, London. He toured through April and May 1975, mostly supporting the Mahavishnu Orchestra, retaining Max Middleton on keyboards but with a new rhythm section of bassist Wilbur Bascomb and noted session drummer Bernard "Pretty" Purdie.

paragraph: In a May 1975 show in Cleveland, Ohio (Music Hall), he became frustrated with an early version of a talk box he used on his arrangement of the Beatles' "She's a Woman", and after breaking a string, tossed his legendary Yardbirds-era Stratocaster guitar off the stage. He did the same with the talk box and finished the show playing a Les Paul and without the box. During this tour he performed at Yuya Uchida's "World Rock Festival", playing a total of eight songs with Purdie. In addition he performed a guitar and drum instrumental with Johnny Yoshinaga and, at the end of the festival, joined in a live jam with bassist Felix Pappalardi of Mountain and vocalist Akira "Joe" Yamanaka from the Flower Travellin' Band. Only his set with Purdie was recorded and released.

paragraph: He returned to the studio and recorded "Wired" (1976), which paired ex-Mahavishnu Orchestra drummer and composer Narada Michael Walden and keyboardist Jan Hammer. The album used a jazz-rock fusion style, which sounded similar to the work of his two collaborators. To promote the album, Beck joined forces with the Jan Hammer Group, playing a show supporting Alvin Lee at The Roundhouse in May 1976, before embarking on a seven-month-long world tour. This resulted in the live album "Jeff Beck with the Jan Hammer Group Live" (1977).

paragraph: At this point, Beck was a tax exile and took up residency in the US, remaining there until his return to the UK in the autumn of 1977. In the spring of 1978, he began rehearsing with ex-Return to Forever bassist Stanley Clarke and drummer Gerry Brown towards a projected appearance at the Knebworth Festival, but this was cancelled after Brown dropped out. Beck toured Japan for three weeks in November 1978 with an ad-hoc group consisting of Clarke and newcomers Tony Hymas (keyboards) and Simon Phillips (drums) from Jack Bruce's band.

paragraph: Work then began on a new studio album at the Who's Ramport Studios in London and continued sporadically throughout 1979, resulting in "There & Back" in June 1980. It featured three tracks composed and recorded with Jan Hammer, while five were written with Hymas. Stanley Clarke was replaced by Mo Foster on bass, both on the album and the subsequent tours. Its release was followed by extensive touring in the USA, Japan and the UK.

paragraph: In 1981 Beck made a series of historic live appearances with his Yardbirds predecessor Eric Clapton at the Amnesty International-sponsored benefit concerts dubbed "The Secret Policeman's Other Ball" shows. He appeared with Clapton on "Crossroads", "Further on up the Road", and his own arrangement of Stevie Wonder's "Cause We've Ended As Lovers". Beck also featured prominently in an all-star band finale performance of "I Shall Be Released" with Clapton, Sting, Phil Collins, Donovan and Bob Geldof. Beck's contributions were seen and heard in the resulting album and film, both of which achieved worldwide success in 1982. Another benefit show, the ARMS Concert for Multiple Sclerosis featured a jam with Beck, Eric Clapton and Jimmy Page. They performed "Tulsa Time" and "Layla".

paragraph: In 1985 Beck released "Flash", featuring a variety of vocalists, but most notably former bandmate Rod Stewart on a rendition of Curtis Mayfield's "People Get Ready. The aforementioned cover song was also released as a single which went on to become a hit. A video was made for the track and the clip achieved heavy rotation on MTV. The two also played a few dates together during this time but a full tour in tandem never materialized.

paragraph: At Stewart's induction to the Rock and Roll Hall of Fame in 1992, Beck gave the induction speech, saying of Stewart, "We have a love hate relationship – he loves me and I hate him."

paragraph: During this period, Beck made several guest appearances with other performers, including the movie "Twins", where he played guitar with singer Nicolette Larson.

paragraph: After a four-year break, he made a return to instrumental music with the album "Jeff Beck's Guitar Shop" (1989), the first album to feature Beck as a fingerstyle guitarist, leaving the plectrum playing style. It was only his third album to be released in the 1980s. Much of Beck's sparse and sporadic recording schedule was due in part to a long battle with tinnitus.

paragraph: In the 1990s, Beck had a higher musical output. He contributed to Jon Bon Jovi's 1990 solo debut album "Blaze of Glory" supporting the Young Guns II movie to include the main solo of the title song. He plays lead guitar on Roger Waters' 1992 concept album "Amused to Death", and on Kate Bush's 1993 album "The Red Shoes". He recorded the instrumental soundtrack album Frankie's House (1992), as well as Crazy Legs (1993), a tribute album to 1950s rockabilly group Gene Vincent and the Blue Caps and their influential guitarist Cliff Gallup.

paragraph: Beck rehearsed with Guns N' Roses for their concert in Paris in 1992, but did not play in the actual concert due to ear damage caused by a Matt Sorum cymbal crash, causing Beck to become temporarily deaf. The Yardbirds were inducted into the Rock and Roll Hall of Fame in 1992. In Beck's acceptance speech he humorously noted that:

paragraph: He accompanied Paul Rodgers of Bad Company on the album "" in 1993. Beck's next release was in 1999, his first foray into guitar based electronica, "Who Else!". The album also marked Beck's first collaboration with a female musician, Jennifer Batten, in touring, writing, and recording as well as the first time he had worked with another guitarist on his own material since playing in the Yardbirds. Beck continued to work with Batten through the post-release tour of "You Had It Coming" in 2001.

paragraph: Beck won his third Grammy Award, this one for 'Best Rock Instrumental Performance' for the track "Dirty Mind" from "You Had It Coming" (2001).

paragraph: The song "Plan B" from the 2003 release "Jeff", earned Beck his fourth Grammy Award for Best Rock Instrumental Performance, and was proof that the new electro-guitar style he used for the two earlier albums would continue to dominate. Beck was the opening act for B.B. King in the summer of 2003 and appeared at Eric Clapton's Crossroads Guitar Festival in 2004. Additionally in 2004, Beck was featured on the song "54-46 Was My Number" by Toots and the Maytals as part of the album "True Love" which won the Grammy Award for Best Reggae Album.

paragraph: In 2007, he accompanied Kelly Clarkson for her cover of Patty Griffin's "Up to the Mountain", during the Idol Gives Back episode of "American Idol". The performance was recorded live and afterwards was immediately released for sale. In the same year, he appeared once again at Clapton's Crossroads Guitar Festival, performing with Vinnie Colaiuta, Jason Rebello, and the then 21-year-old bassist Tal Wilkenfeld.

paragraph: Beck announced a world tour in early 2009 and remained faithful to the same lineup of musicians as in his tour two years before, playing and recording at Ronnie Scott's in London to a sold out audience. Beck played on the song "Black Cloud" on the 2009 Morrissey album "Years of Refusal" and later that year, Harvey Goldsmith became Beck's Manager.

paragraph: Beck was inducted into the Rock and Roll Hall of Fame on 4 April 2009, as a solo artist. The award was presented by Jimmy Page. Beck performed "Train Kept A-Rollin'" along with Page, Ronnie Wood, Joe Perry, Flea, and Metallica members James Hetfield, Robert Trujillo, Lars Ulrich, Kirk Hammett and Jason Newsted.

paragraph: On 4 July 2009, David Gilmour joined Beck onstage at the Albert Hall. Beck and Gilmour traded solos on "Jerusalem" and closed the show with "Hi Ho Silver Lining".

paragraph: Beck's album, "Emotion & Commotion", was released in April 2010. It features a mixture of original songs and covers such as "Over the Rainbow" and "Nessun Dorma". Joss Stone and Imelda May provided some of the guest vocals. Two tracks from "Emotion & Commotion" won Grammy Awards in 2011: "Nessun Dorma" won the Grammy Award for Best Pop Instrumental Performance, and "Hammerhead" won the Grammy Award for Best Rock Instrumental Performance. Beck collaborated on "Imagine" for the 2010 Herbie Hancock album, "The Imagine Project" along with Seal, P!nk, India.Arie, Konono N°1, Oumou Sangare and others and received a third Grammy in 2011 for Best Pop Collaboration with Vocals for the track.

paragraph: Beck's 2010 World Tour band featured Grammy-winning musician Narada Michael Walden on drums, Rhonda Smith on bass and Jason Rebello on keyboards. He has also released a live album titled "Live and Exclusive" from the Grammy Museum on 25 October 2010. 9 June 2010 Beck with Imelda May's band recorded a DVD of a concert at the Iridium in NYC featuring several Les Paul songs with Ms May doing the Mary Ford vocals.

paragraph: In 2011, Beck received two honorary degrees from British universities. On 18 July 2011, he was honoured with a fellowship from University of the Arts London in recognition of his "outstanding contribution to the field of Music". He was also presented with an honorary doctorate from University of Sussex by Sanjeev Bhaskar, the university's chancellor for "an outstanding musical career and celebrated the relationship between the university and the Brighton Institute of Modern Music (BIMM)" on 21 July 2011.

paragraph: In 2013, it was announced that he will be performing on Beach Boys founder Brian Wilson's new solo album (alongside Beach Boys Al Jardine and David Marks) on Capitol Records. On 20 June, Wilson's website announced that the material might be split into three albums; one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite". Beck also accompanied Wilson (along with Jardine and Marks) on an eighteen date fall 2013 tour starting in late September and ending in late October. According to Beck pre-tour, "Brian will kick things off, but I'll also be given enough time to establish what I'm about. In the end, we'll mix and match. It's a complete honor to be on stage with him."

paragraph: In 2014, to mark the beginning of Jeff's World Tour in Japan, a three-track CD titled "Yosogai" was released on 5 April; the album had yet to be finalized at the time of the tour. In November 2014 he accompanied Joss Stone at The Royal British Legion's Festival of Remembrance at the Royal Albert Hall. He released album Loud Hailer in 2016.

paragraph: Section::::Style and influence.

paragraph: One of the most influential guitarists in the history of rock music, Jeff Beck has cited his major influences as Les Paul, the Shadows, Cliff Gallup, Ravi Shankar, Roy Buchanan, Chet Atkins, Django Reinhardt, Steve Cropper and Lonnie Mack. Of John McLaughlin, he said: "[he] has given us so many different facets of the guitar and introduced thousands of us to world music, by blending Indian music with jazz and classical. I'd say he was the best guitarist alive."

paragraph: While Beck was not the first rock guitarist to experiment with electronic distortion, he nonetheless helped to redefine the sound and role of the electric guitar in rock music. Beck's work with the Yardbirds and the Jeff Beck Group's 1968 album "Truth" were seminal influences on heavy metal music, which emerged in full force in the early 1970s.

paragraph: Beck was regarded by Stephen Thomas Erlewine to be "as innovative as Jimmy Page, as tasteful as Eric Clapton, and nearly as visionary as Jimi Hendrix", although unable to achieve their mainstream success, "primarily because of the haphazard way he approached his career" while often lacking a star singer to help make his music more accessible. He was ranked No. 5 in Rolling Stone's list of the "100 Greatest Guitarists". In an accompanying essay, guitarist Mike Campbell applauded Beck for his "brilliant technique" and "personality" in his playing, including a sense of humor expressed through the growl of his wah-wah effects. Campbell credited Beck with expanding the boundaries of the blues, particularly on his two collaborations with Stewart.

paragraph: Section::::Technique and equipment.

paragraph: Beck stopped regular use of a pick in the 1980s. He produces a wide variety of sounds by using his fingers and the vibrato bar on his signature Fender Stratocaster, and he frequently uses a wah-wah pedal both live and in the studio. Eric Clapton once said, "With Jeff, it's all in his hands".

paragraph: Along with Stratocasters, Beck occasionally plays Fender Telecaster and Gibson Les Paul models as well. His amplifiers are primarily Fender and Marshall. In his earlier days with the Yardbirds, Beck also used a 1954 Fender Esquire guitar (now owned by Seymour W. Duncan, and housed in the Cleveland Rock and Roll Hall of Fame) through Vox AC30s. He has also played through a variety of fuzz pedals and echo units along with this set-up and has used the Pro Co RAT distortion pedal. The Seymour Duncan "JB" model's name is an acronym for both "Jazz & Blues" and "Jeff Beck", as it was designed in conjunction with the guitarist.

paragraph: During the ARMS Charity Concerts in 1983 Beck used his battered Fender Esquire along with a 1954 Stratocaster and a Jackson Soloist. On Crazy Legs (1993) he played a Gretsch Duo Jet, his signature Stratocaster and various other guitars. In 2007, Fender created a Custom Shop Tribute series version of his beat-up Fender Esquire as well as his Artist Signature series Stratocaster.

paragraph: Section::::Personal life.

paragraph: Beck has been married to Sandra Beck since 2005 and has been a vegetarian since 1969. He is a patron of the Folly Wildlife Rescue Trust. He has an interest in classic Ford hot rods, performing much of the work on the exteriors and engines of the cars by himself. Beck has a house near Wadhurst, East Sussex.

paragraph: Section::::Awards.

paragraph: Beck is the winner of eight Grammy awards, the first being Best Rock Instrumental Performance for "Escape" from the album "Flash" at the 1986 Grammys.

paragraph: Section::::Discography.

paragraph: BULLET::::- Studio albums

paragraph: BULLET::::- "Truth" (1968)

paragraph: BULLET::::- "Beck-Ola" (1969)

paragraph: BULLET::::- "Rough and Ready" (1971)

paragraph: BULLET::::- "Jeff Beck Group" (1972)

paragraph: BULLET::::- "Blow by Blow" (1975)

paragraph: BULLET::::- "Wired" (1976)

paragraph: BULLET::::- "There & Back" (1980)

paragraph: BULLET::::- "Flash" (1985)

paragraph: BULLET::::- "Jeff Beck's Guitar Shop" (1989)

paragraph: BULLET::::- "Crazy Legs" (1993)

paragraph: BULLET::::- "Who Else!" (1999)

paragraph: BULLET::::- "You Had It Coming" (2001)

paragraph: BULLET::::- "Jeff" (2003)

paragraph: BULLET::::- "Emotion & Commotion" (2010)

paragraph: BULLET::::- "Loud Hailer" (2016)

paragraph: BULLET::::- Collaborative albums

paragraph: BULLET::::- "Beck, Bogert & Appice" (1973)

paragraph: BULLET::::- "Frankie's House" (1992)

paragraph: Section::::External links.

paragraph: BULLET::::- Jeff Beck at Epic Records

paragraph: BULLET::::- Jeff Beck 1954 Les Paul Oxblood

paragraph: BULLET::::- Jeff Beck unofficial website

alias:
Geoffrey Arnold Beck
Geoffery Arnold "Jeff" Beck

description: English rock guitarist

enwikiquote_title: Jeff Beck

wikidata_label: Jeff Beck

wikipedia_title: Jeff Beck