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Post by My God on Nov 12, 2010 14:12:45 GMT -5
You got that Right! All must be warned about this high born hunting girl.
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Post by tootull on Nov 15, 2010 15:57:33 GMT -5
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Post by TM on Nov 15, 2010 20:38:55 GMT -5
This a great read, thanks Triple T!
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Post by Nonfatman on Nov 16, 2010 12:41:05 GMT -5
Enjoy the show with your family tonight, Paul, say hi to Mary and your girls for me! Also, please say hello to Dennis for me and give him my apologies. I was planning to go to Montclair, until they announced that City Winery show, which was too good to pass up, and it was really one or the other for me, because I've also got Westbury the day after the Winery show. Looking forward to getting together next week, as we've assembled quite a group for that one! Jeff
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Post by tootull on Nov 16, 2010 14:03:36 GMT -5
blogs.creativeloafing.com/dailyloaf/2010/11/16/an-evening-with-ian-anderson-at-ruth-eckerd-hall/Concert review: An Evening with Ian Anderson at Ruth Eckerd Hall, Clearwater (with setlist)November 16, 2010 at 12:19 pm by Gabe Echazabal (The DAILY LOAF) "It’s quite amazing to think about, especially in this day and age of technological advances and progress, that a middle-aged man playing a flute and singing tales of ancient folklore can evoke such a passionate, fevered response from a paying audience. So is the case of Ian Anderson, lead singer, flautist, multi-instrumentalist and oracle of the madrigal/folk-rock band Jethro Tull. Anderson made a rare solo appearance at Clearwater’s Ruth Eckerd Hall last Thursday night and many loud Tull fans came out in droves to hear the quizzical and charismatic front man sing and tell his own brand of stories and anecdotes. Jethro Tull, formed in England in the late 1960s, has had a strong hold over a very loyal and dedicated fan base ever since their 1968 debut album This Was. Mixing blues rock with a more prog-rock sound and throwing in a bit of avant-jazz, Tull’s sound was as unusual as it was fascinating. Not completely heavy metal or folk, but somewhere in between those two genres, Jethro Tull continued to intrigue and elate its audience well into the ’70s with now-classic albums such as 1971’s Aqualung and its follow up Thick As A Brick. It’s been said that once a Jethro Tull fan, always a Jethro Tull fan and Thursday night’s vocal and appreciative crowd certainly helped to uphold that mantra. Starting promptly at 8:05, this event billed as “An Evening with Jethro Tull’s Ian Anderson” had the makings of a very long night. After all, a large chunk of Tull’s catalog consists of very, very long songs and suites. As one of the bands within the prog-rock genre who saw no danger in committing an entire album side to a single song (along with Yes and Emerson, Lake and Palmer), Jethro Tull are no strangers to lengthy, twisted, complicated and intricate pieces of music. And, as expected, Anderson scored the biggest and most passionate responses from his audience when he delved into the title tracks of the afore-mentioned ’70s signature pieces although those were saved for the end of the night. The night was divided into two sets separated by a brief intermission. Anderson’s charm and personality were the real highlight of the evening though. Each of the night’s selections were preceded by lengthy spoken intros that amused and entertained the crowd. Anderson spoke in a tone similar to a overzealous seer or circus barker which added more color and enthusiasm to each story he recounted. Whether speaking of his farms in England, his wife or his love of classical music (and Bach in particular), Anderson successfully displayed his craft he’s so carefully honed for the better part of four decades as a musician and performer. The evening relied heavily on Jethro Tull material with very few selections being chosen from the solo recordings Anderson has released throughout the years. Except for “In The Grip Of Stronger Stuff” and a tune that was so new, it hadn’t even been titled yet, the nights setlist consisted mostly of Jethro Tull material. Some obscurities (”Up To Me”, “Nursie”) and some more well-known tunes (”Life’s A Long Song”, “Budapest”) helped to balance out the evening’s selections and ultimately pleased everyone in attendance from the casual fans to the die-hard ones. Careful to surround himself with stellar musicians, Anderson is currently supported by an amazing band on this tour as a solo artist. Bassist David Goodier, Keyboardist and accordion player John O’Hara and drummer Scott Hammond were obviously hand-picked by Anderson. All three band members showed an incredible amount of expertise, versatility and sheer talent. This is not a band of slouches; I’d have to guess that these men are all classically trained and bred. Their musicianship is as unparalleled as it is jaw-dropping. And speaking of jaws dropping, lead guitarist Florian Ophale, the youngster of the band (his bio lists him as born in 1983; well after the heyday of Jethro Tull had come and gone), was the real show-stopper of the evening. The young phenom effortlessly shifted from intricate Tull tunes to a spotlight solo of flamenco style playing on acoustic guitar to a red hot electric reading of Bach’s “Prelude in C Minor”. Understandably, the reaction Ophale received throughout the night was deafening. The evening ended with yet another Jethro Tull classic, “Locomotive Breath.” And, again, the unlikely yet undeniable allure and magnetism of Jethro Tull, and more specifically of Ian Anderson, was more than obvious to the mostly middle-aged audience. I suppose as long as there’s a demand for an enchanting, engaging, story-telling rock ‘n’ roll flute player, Anderson will continue to write, record and release his own brand of jazz-influenced folk rock and a willing audience will be there to cheer him on." Set List: Life’s A Long Song Up To Me Nursie In The Grip Of Stonger Stuff Set Aside Hare In The Wine Cup Wond’ring Again Adantino Adrift and Dumbfounded Hare That Lost His Spectacles Bach Prelude In C Minor -intermission- Bouree new song-as yet untitled Thick As A Brick jam/solos A Change Of Horses Budapest Aqualung encore: Locomotive Breath >>Do you still see me even here?<<
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Post by TM on Nov 16, 2010 14:06:39 GMT -5
Enjoy the show with your family tonight, Paul, say hi to Mary and your girls for me! Also, please say hello to Dennis for me and give him my apologies. I was planning to go to Montclair, until they announced that City Winery show, which was too good to pass up, and it was really one or the other for me, because I've also got Westbury the day after the Winery show. Looking forward to getting together next week, as we've assembled quite a group for that one! Jeff Thanks Jeff, I will, but the show is tomorrow! You SCARED THE HELL OUT OF ME!!!! Stay tuned for some new videos (hopefully). And yes I'm looking forward to the City Winery gig. That should be very cool.
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Post by Nonfatman on Nov 16, 2010 15:50:32 GMT -5
Enjoy the show with your family tonight, Paul, say hi to Mary and your girls for me! Also, please say hello to Dennis for me and give him my apologies. I was planning to go to Montclair, until they announced that City Winery show, which was too good to pass up, and it was really one or the other for me, because I've also got Westbury the day after the Winery show. Looking forward to getting together next week, as we've assembled quite a group for that one! Jeff Thanks Jeff, I will, but the show is tomorrow! You SCARED THE HELL OUT OF ME!!!! Stay tuned for some new videos (hopefully). And yes I'm looking forward to the City Winery gig. That should be very cool. Sorry about that, Paul, my bad. Jeff
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Post by tootull on Nov 18, 2010 17:10:20 GMT -5
Ian Anderson brings solo act to Lowell Memorial Auditoriumwww.wickedlocal.com/acton/fun/entertainment/x1892560402/Ian-Anderson-brings-solo-act-to-Lowell-Memorial-AuditoriumBy Margaret Smith GateHouse News Service Posted Nov 18, 2010 Lowell — With a music career spanning more than 40 years, Ian Anderson is looking up. To space, that is, where he has sent a flute to the International Space Station, to be played by astronaut Col.Catherine Coleman. And they say that in space, there is no sound. Anderson -- a performer in his own right as well as the front man of Jethro Tull – is bringing elements of both his solo career and his legendary band to the Lowell Memorial Auditorium. He recently shared his thoughts on music, technology, and his passion for saving the endangered species of wild cats. Q. Please tell me what you have planned for the show. A. Well, I’m at that point in the calendar, actually, where I’m doing solo shows, and I suppose it’s marked by the deeper and further and wider look into the Jethro Tull catalog – including some of the more obscure, less often heard songs than the ones that are in classical rock rotations. It’s just a deeper and more esoteric look into my song-writing over the years, but bringing it up to date. One piece of music was written 24 hours before we went on the tour…it doesn’t have a title yet, because it is part of a longer term project.
So giving it a title would limit in my mind. Q. The released list says you are playing “Bungle in The Jungle” [from the 1974 Jethro Tull album, “War Child.] I understand you haven’t played this song in concert in many years. A. It was on the set list, but it is not anymore. It’s just not a song I connect with. It was a commercial attempt at music and I thought, “Let’s give it another go” – but it’s so too evidently self-conscious in the approach to writing. Q. In your long career you’ve seen a lot of changes, especially the effect of technology on the music industry. What has this meant for you? A. I suppose I have had a musical career that has spanned everything from the earliest days of vinyl recording, stereo recording, and the digital age….the crucial difference now is that with new artists, the chances of getting paid is less and less all the time. We are going to see some real impact on musicians who have fewer outlets than the previous generation did….I meet them all the time, and my son is a young musician. The only chance they have of selling anything is a few CDs. Also, with copyright, the basic attitude seems to be, “Sue me.” The offenders either just evaporate, or they are so well funded that they can afford it. Q. What for you is the motivation to keep going, especially with live performance? A. The simple answer is that I can afford it. I get paid very handsomely for performing live, because I have passed the threshold where I alone or as Jethro Tull can get paid for live gigs. At least in the old days, you got paid 50 bucks for a club gig. But in the big cities these days, if you are a young musician, you get paid nothing and that’s the end of it. Luckily, I can continue my work. In 15, 20, 30 years from now, it’s going to be a different story with musicians. Q. Are there challenges to performing now – physically, artistically or otherwise? A. I don’t really think there is a great deal of difference. With technology, things have come out, and there are a lot of improvements, and more effective ways of presenting music to the public…there are opportunities to develop new skills. As you get older, you can continue to evolve as a musician, into your 60s and 70s. But clearly, you can’t expect the same amount of stamina as in your 20s, and you have to allow for that. You have to expand your horizons and not just settle into a comfortable routine. Q. You mention that there is opportunity to develop new skills. What new skills have you developed, or how do you feel you have improved? A. They are skills developed from actual practice and rehearsal. There is no substitute for playing and practicing every day – the music you have played before, but also new directions. There are so many musicians who don’t think they have to play every day. They just go out and play – and that’s rubbish. I have had to part company with musicians with this attitude – who without becoming aware of it are becoming stultified. Instead of expanding, they become stultified and contracted. You can become self-delusional. The answer is practice, practice, practice. Q. How much time do you put into practicing? A. I guess I’m lucky, because a lot of my practice, if you like, is before an audience. You can clock up lots of hours of practice if you are on the road. At home, it’s sort of two swords – it’s any time of day, picking up instruments, 10 minutes or an hour, or just for the fun it. I play a little bit every day. Q. Is there any aspect of what you do now as a musician that you are especially proud of? A. I have suffered a few physical injuries. I broke a finger, which set me back a long way playing the guitar – not so much the flute, because I could put a splint on it [Anderson broke his finger shortly before departing with Jethro Tull to Minsk, Belarus, trying to put a reticent cat outside.] I damaged my voice back in 1984 – but now I am better vocally than I was, and a better flute player than in the past years of my life, because I constantly reevaluate my playing. Also, from a breathing point of view, and pushing the limits of breath control, which surprisingly, is not proving to be problematic, but so far, so good. There is a naivete and energy that you do lose as you get older, but hopefully you make up for it with skillful and nuanced approaches to your music. Q. Do you think there is still the same appreciation for live performance? I went through a concert recently where a young woman was texting through the entire thing. Do you think audiences relate to shows differently now? A. That doesn’t happen so often at the concerts that I do, where people pay good money. People don’t pay good money to come in and text their boyfriends. I do, on the other hand, witness some bewildering sights. Some places, you are not sure if you are at a rock concert, or a Nazi rally – they seem like they are giving you a Nazi salute, and then you see that they are holding up their cell phones and want to transmit the concert back home to their brother in-law or whatever. I have often been tempted to make comments at this. Hopefully, their batteries run out. Q. I understand you get some of your flutes from one of our local companies [Powell Flutes of Maynard, Mass.] What do you choose your flutes and what to you is the mark of a quality instrument? A. I have some Powell flutes, and I enjoy playing them. I think you have to consider, first of all…the craftsmanship…when you handle a well-made instrument, and see the attention to detail. A lot of people just want to have that 20-karat gold flute. I play a platinum flute, a gold flute, and silver plated flute, and listen back to them, and there is very, very little difference. I think they feel more different to the player than to the listener. It’s important that the player gets to know his instrument. A good player should be able to pick up a flute that is in working order. James Galway said to me that he is always coming up against young students who complain that the flute isn’t any good. He picks up their flute and plays some difficult cadenza and puts it in perspective. I sent a flute on a Soyuz rocket a few weeks ago – a silver-plated, good quality Japanese flute. I sent it into space, where it is going to be played by [Col. Catherine Coleman, at the International Space Station]. She is going to be playing my flute in space. Q. Why was that important for you to do – to send a flute into space? A. As a child of the Space Age, born just after the war, growing up as teenager with the development of space research, my formative years were when Sputnik went into space – and John Glenn, and Alan Shepard, and then of course the more advanced American attempts to culminate in the lunar landings in 1969. So I feel a real affinity for that. I can’t go, but my flute can go, and as it parachutes and lends somewhere in Kazakhstan, perhaps, hopefully I can get it back…and this is an entertaining thought. My flute can go where I cannot go. Even if I could go, I wouldn’t have the guts. These are very real, emotional experiences I suppose the American public has become blasé about – but very brave men and women continue to expand the boundaries of space exploration. Q. You’re a cat person – please tell me about your efforts to help cats. A. I’ve been drawn to cats since I was a small boy. I think I began to recognize early on that they have this strange independence. I have just been drawn naturally to cats – I think they are closer to the wild. I have had feral kittens brought up on neighboring farms. It takes several weeks to make them acceptable as pets for other people. I’m involved with a number of conservation projects and probably will be again in the future. It is all connected with the small wildcat species. One of my favorites is the Andean wild cat. There are 26 species of small wild cats, and they don’t get much support, because they are not big and sexy and scary, like tigers and lions and snow leopards. Q. One final question. Would you like your and Jethro Tull’s legacy to be? A. We have made al living making music that is varied, and adventurous. We can do stuff that isn’t just other people’s notions of musical stereotypes. You can sometimes be successful doing what you wand to do if you follow your nose. I think Jethro Tull is one of the bands that has done that. If you go Ian Anderson in concert WHEN Saturday, Nov. 20, 8 p.m. WHERE Lowell Memorial Auditorium, 50 East Merrimack St., Lowell TICKETS $39.75-$59.75 FOR MORE INFORMATION Visit www.lowellauditorium.com. So follow me. Trail along
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Post by tootull on Nov 19, 2010 9:02:50 GMT -5
Jethro Tull's Ian Anderson finds a way around vocal problems at Calvin Theatre in Northamptonblog.masslive.com/playback/2010/11/jethro_tulls_ian_anderson_find.htmlPublished: Friday, November 19, 2010, 12:59 AM Updated: Friday, November 19, 2010, 1:08 AM Kevin O'Hare, The Republican Kevin O'Hare, The Republican NORTHAMPTON – Ian Anderson’s voice is shaky - to put it kindly - and his best music is hopelessly out of fashion. But you’d never know it by judging the reaction of his fans at the Calvin Theatre Thursday. Jethro Tull’s lead singer, flutist, guitarist and founding father is out on the road on a solo tour primarily showcasing the music that he made with his classically-tailored prog-rock band 30 to 40 years ago. Backed by a four-piece ensemble, Anderson played nearly 20 songs during two sets that totaled a shade more than two hours before a crowd of approximately 1,000 devotees. The show included some reinventions of Jethro Tull’s most famous works as well as a handful of obscurities along the way. It was a rare Western Mass. performance for Anderson, who was a relatively familiar face here in the 1970s, as Tull turned in several unforgettable performances at The Springfield Civic Center and other spots in the region. The band’s main man is 63 now and the only major hurdle he’s had to overcome as a performer are the lingering vocal problems that have haunted him for most of the past two decades. With the current show, Anderson has nearly found a way around the issue, thanks to some revisionist arrangements that put more emphasis on his flute playing, animated stage presence and colorful storytelling than they do on his very real vocal limitations. The first set was particularly entertaining. Opening appropriately with 1971’s “Life’s a Long Song,” he dug out some tasty nuggets from the past, including “Up to Me,” an often overlooked gem from the “Aqualung” album; “Nursie,” which he movingly dedicated to his brother’s partner, who passed away the night before; and “Wond’ring Again,” which he introduced by referring to its lyrical complaints, saying “I’m just a miserable old (expletive)…But I’m not as miserable as (Pink Floyd’s) Roger Waters.” It was one of the many very amusing comments Anderson made during the night, including his mischievous reference to Tull’s former bassist Dave Pegg’s penchant for alcohol, which he used as set-up prior to the Celtic-styled flute instrumental “In the Grip of Stronger Stuff.” Several of the non-Jethro Tull songs fell flat, notably the relatively new “Hare in the Wine Cup” which was a definite yawner. But speaking of hares, Anderson pulled out a wonderfully weird obscurity when he read – with musical accompaniment – “The Hare Who Lost His Spectacles” from Tull’s “Passion Play” album. That was followed by lovely flute and piano-sparked takes of Bach’s “Prelude in C Minor” and “Bouree,” the latter which Anderson has been playing for 40 years. The second set was far less successful. Because it was as Anderson said, “louder,” it also forced him to stretch more vocally and that really marred a couple of his classic works, including an edited take of “Thick as a Brick,” and Tull’s signature song “Aqualung.” He really re-arranged the latter to focus a lot more on instrumental flavors but when he could not come near hitting the right notes vocally it was sad to see, sort of like watching a once-great baseball player well past his prime, struggling to get balls out of the infield. Nevertheless, musically, his flute work was as brilliant and groundbreaking as ever, and he also let his band share the spotlight, especially guitarist Florian Opahle, whose flamenco style in “Adantino,” and his loud “tight trousers version” (Anderson’s description) of Bach’s “Toccata and Fugue” drew crowd raves. Still he’s no match for Anderson’s longtime Tull bandmate Martin Barre, who is absent from the tour. It’s strange seeing Anderson without Barre and frankly, since Anderson is avoiding most of his own solo material in favor of devoting most of this tour to Tull songs it’s worth wondering why he just doesn’t add Barre and call this a Jethro Tull show. After “Aqualung,” the group returned to encore with one of Tull’s biggest radio hits, “Locomotive Breath,” which started with acoustic instrumentation before giving way to full-blown electric treatment. All this time, it had been quite plain to hare that the others knew nothing about spectacles.
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Beltane
One of the Youngest of the Family
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Post by Beltane on Nov 19, 2010 9:07:33 GMT -5
Anyone see IA in Northampton, MA last night? I took my son, was about 8 rows back.
It was held at the Calvin theater, decent venue, little frayed around the edges. JFYI, if you ever go there, they didn't check for cameras, etc. In fact, at the beginning of the show, the announcer specifically asked everyone to refrain from 'flash' photography. Hmmm, I wonder if that meant I could have brought my DSLR w/ fast lenses and not used flash...probably not.
The set list was identical to what's been posted, e.g. Clearwater. Only difference was that Ian dedicated Nursie to his brother's partner of 50 years, Jim Hastings (?) who had passed away the day before.
Overall, I was pleased w/ the show, although I didn't care for the version of Aqualung. TAAB sounded great, along with Budapest. My son, who's a musician, loves seeing them play for their technical capabilities, and he gets a kick (is impressed) out of IA as the performer.
The only thing that struck me as I sat watching/listening was what was really different from the summer, having seen JT in Boston. With two of the members the same, and the setlist very close to the Tull show, was it worth my money? This is a guy who first saw them on the Aqualung tour way back and has seen them faithfully nearly every year since, and bought pretty much every album as it came out.
Obviously, on one hand, IA=JT, so it's difficult, if not impossible, to separate them. Then again...I did love hearing Wond'ring Again, and would really enjoy hearing other rare gems in this type of show from IA, e.g. Dr. Bogenbroom, Baker St. Muse, etc.
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Post by TM on Nov 20, 2010 9:26:56 GMT -5
Not your typical review for sure - TMIan Anderson Give Solid Show at the Calvin TheatreBy THOMAS KINTNER, Special to The Courant The Hartford Courant November 20, 2010 As the man at the forefront of Jethro Tull, Ian Anderson built a career out of enormously exaggerated stage performances, but when travelling under his own name these days, he leaves most of the theater to the songs. The 63-year-old British folk rock icon's show Thursday night at the Calvin Theatre in Northampton, Mass. was a stripped down stroll through four decades of artsy musical turns, offered in poised yet occasionally playful fashion. Anderson opened the evening working a small-bodied acoustic guitar, his singing mildly nasal and almost stately in its composure as he picked his way across "Life is a Long Song" before issuing signature fluttering from his flute to place a bow on the song. With a four-piece support band that served to provide rock-leaning backbones and nearly finicky folk prances in equal measure, Anderson sauntered through his material, easing across "Nursie," and giving support with his small acoustic guitar alongside the sharp electric guitar lines of Florian Opahle in "Adrift and Dumbfounded." Dramatic moments came in an arch but friendly recitation of "The Story of the Hare who Lost his Spectacles," driven by the harpsichord-style keyboard line of John O'Hara. After joining O'Hara for Bach's "Prelude in C Major," Anderson let loose on the flute to propel more Bach-derived material in the 1969 Tull extract "Bourée," evoking iconic imagery of his past by playing on one foot during the bounding rendition. The second of the show's two sets was given over to wider-ranging workouts, including a trip through a portion of "Thick as a Brick" that played out like an enormous mood ring, matching its many instrumental twists and turns with frequent shifts from one evocative lighting pattern to another, marking the most theatrical moment in a generally simple visual presentation. Opahle used another Bach composition, "Toccata and Fugue in D Minor," as a jumping-off point for a flashy solo interlude, which led into a rock-laced exploration of "A Change of Horses." Jams were inflated without ever turning incendiary, kept carefully harnessed even as "Budapest" built to a crescendo. Anderson did his most decorative flute soloing in a closing delivery of "Aqualung," its sturdy rock chug decked out with his burst of flitting, high-tone highlights. An encore of "Locomotive Breath" built to a steady jam around which Anderson was free to splash all manner of chipper woodwind gilding. Ian Anderson performs Nov. 19 at the Warner Theatre in Torrington.. Tickets for the 8 P.M. show are $75, $55 and $45. Information: 860-489-7180 and www.warnertheatre.org. Ian Anderson's Thursday set list: "Life is a Long Song," "Up to Me," "Nursie," "In the Grip of Stronger Stuff," "Set Aside," "Hare in the Wine Cup," "Wond'ring Again," "Adantino," "Adrift and Dumbfounded," "The Story of the Hare who Lost his Spectacles," "Prelude in C Major," "Bourée," "Tune with no Name," "Thick as a Brick," "Toccata and Fugue in D Minor," "A Change of Horses," "Budapest," "Aqualung," (Encore) "Locomotive Breath." www.courant.com/entertainment/music-reviews/hc-ian-anderson-review-20101120,0,4272510.story
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Post by tootull on Nov 20, 2010 10:29:50 GMT -5
Ian Anderson, The Birchmere, Alexandria, VA- 11/15www.jambands.com/reviews/shows/2010/11/17/ian-anderson-the-birchmere-alexandria-va-11-15Published: 2010/11/17 by Nancy Dunham "Ian Anderson has still got it." "Yes, you’ll read reviews of the solo tour by Jethro Tull’s founder that gripe about the quality of his voice or the “hopelessly outdated” songs in his set list – Ignore them. Anderson – truly the Minstrel in the Gallery who has led prog-rockers Jethro Tull through 40+ years of success – played the legendary Birchmere in Alexandria, Virginia this week and knocked out the sold-out audience, which included a healthy dose of under 30-somethings. Naysayers will tell you that the multiple standing ovations for Anderson and his four-member band were akin to the “Lifetime Achievement Awards” given at some major award shows. That’s ridiculous. Not only was Anderson and his band mates at top form digging deep into the Tull Catalog (“Life’s a Long Song,” “Bouree,” “Budapest,” “Wond’ring Again,” “Up to Me,” “Nursie”) but added dollops of power and artistry to those classics. And don’t even start talking about the stunningly artistic 15-minute version of “Thick as a Brick” or his witty rendition of the “The Hare That Lost His Spectacles” from “A Passion Play.” Shake your head if you want, but the reworkings were brilliant and certainly no stroll down memory lane (or at least just a minor one). Between the fan favorites, some newer tunes, and the hot-off-the-notebook tunes Anderson introduced – including an unnamed song that he had written just a week or two before this show– the music was delicately arranged with plenty of surprises – castanets here, an accordion there, bongos here. Ian’s a smart man and he knows how to take the music he’s written through the years to the next level to satisfy his audiences and his own creativity. While some classic rockers forego tours for fear of belittling reviews, Anderson massages the music so that it suits his 63-year old voice. He also surrounds himself with brilliant players including those on this tour: John O’Hara on keyboards and accordion, David Goodier on fretless bass and percussion, and Scott Hammond on drums. Anderson enjoys working with an array of musicians because he still considers himself a student of the art. That was obvious but the way Ian and his band mates played, which brought to mind something akin to synchronized sonic swimmers. A stand out on this tour is brilliant German musician Florian Ophale on classical and electric guitar. His accompaniment melded well with the other players but the real magic of his playing was unleashed during the two solo spots he was given in the set. Although many audiences race to the exits when they know what encore will be played, there was hardly any movement within the Birchmere as the band finished its set with “Aqualung,” and moved into the encore of “Locomotive Breathe.” “Oh please,” said Anderson during one of several standing ovations. “You’re too kind. Don’t get carried away.” With Ian unearthing and polishing such gems, that’s almost impossible." And another, and another...
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Post by Programme on Nov 21, 2010 2:03:31 GMT -5
Lowell Memorial Auditorium November 20th
Same set list as in Northampton.
Some good before the criticism: A Change of Horses is really a wonderful piece, as are a couple of the others. Thank god Aqualung and others got rewritten; Tull finally grows up, and the music is just wonderful. Ian has to take care of his voice more, and look for ways to speak, or go to instrumental. The audiences rises with every note hoping that he will hit it.
I want to throw down the gauntlett to the band members: What are you doing? If you are going to play Tull music -- than play it. This mean that if Ian is having an off date, that you (and I mean Florian, John, David, etc) step up to support him. I you drylab the next concert like you did tonight, you should be sent back to jethro tull school. What the F was going on? Florian, you are playing pieces of music that we have listened to for as long as tull has been playing, we know every nuance of phrasing on every passage. When you play it you have to kick the shit of out it. Perfect is a starting point and improve from their. The same message goes to the rest of you. If you are going to play Tull, youi'll play to people like me who hear every note and demand perfection. Anything less is mailing it in.
Tonight sucked. No one stepped up to help ian. What are you a bunch of sissies? What a fucking mess. If you are going to play tull, than fucking be tull -- not some sessions guys who support ian. Or worse yet mail it in. Come on. Get it going!!
One technical suggestion is to add Forest Dance 2 to The Hare Who Lost his spectacles. It will fill the time to remove the mic from ian, and will given Florian and others a chance to play this short piece, It will transition better to the next.
I fucking love you when you plan well. This wasnt' that night. /AND WHO KILLED FLORIAN'S MIKE?
Hope you got it all all tonight, cause tomorrows Providence.l
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Deleted
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Post by Deleted on Nov 21, 2010 9:33:33 GMT -5
review from Torrington www.courant.com/entertainment/music-reviews/hc-ian-anderson-review-20101120,0,4272510.story Lowell was fantastic, I though Ian vocals were strong through out most of the show, they struggled in certain parts, but hey for 63 year guy who has done close 3000 concerts and has only taken breaks in 1983, 1985, 1986 and plays a flute and jumps around alot his voice is pretty damn good. It was the same set list Basicly the same banter between songs . Brick was stellar as was Wondering Again, The band was sounded tight and Ian Anderson proves once again he is truely earned the MU on his passport
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Post by Programme on Nov 22, 2010 0:45:57 GMT -5
Veterans Memorial Auditorium November 21st
Same set as Lowell
Tonight was magnificent up to the beginning of Budapest, and my apologies but I don't know a word that adequately describes the music quality from then on. I cried through the rest of the concert. 41 years of Tull concert going, and I've got tears streaming down my face listening to these guys play tonight.
My view of the music of Jethro Tull, and it's performers, is that they are the gold standard in music -- both writing and performing. Tonight had it all: sound quality, tempo, precision, and emotion. I went thinking that it would be a third night with Ian and the supporting band members, but no, tonight was Jethro Tull.
I'll close by saying that Ian, you are an amazing man, and your music touches my heart.
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Post by Nonfatman on Nov 22, 2010 14:25:28 GMT -5
Veterans Memorial Auditorium November 21st Same set as Lowell Tonight was magnificent up to the beginning of Budapest, and my apologies but I don't know a word that adequately describes the music quality from then on. I cried through the rest of the concert. 41 years of Tull concert going, and I've got tears streaming down my face listening to these guys play tonight. My view of the music of Jethro Tull, and it's performers, is that they are the gold standard in music -- both writing and performing. Tonight had it all: sound quality, tempo, precision, and emotion. I went thinking that it would be a third night with Ian and the supporting band members, but no, tonight was Jethro Tull. I'll close by saying that Ian, you are an amazing man, and your music touches my heart. Welcome to The Jethro Tull Board, "Programme," and thanks for your reviews of the two most recent shows. It does not surprise me that you came away with two different impressions. I cannot tell you how many times I have seen two Tull or Ian shows in close proximity to each other, and thought that one night was much better than the other (even though both were good). This happened to me not too long ago with two Carnegie Hall shows (on the tour with Lucia), and last summer with two JT shows (Jones Beach and PNC) and also two Paramount Theater shows, back to back in 1991. I think that, in the case of consecutive shows at the same venue, part of the reason for that is the band making certain adjustments for the second show. It also does not surprise me that you got all farhklempt toward the end of the show. The same thing happened to my friend Mike the first time Tull ever played Jack-A-Lynn live. (See Yiddish Word of the Day thread!) One last thing, I liked what you said about Tull being "the gold standard" in music, in terms of both writing and performing. That is so very true. Cheers, Jeff
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Beltane
One of the Youngest of the Family
Posts: 52
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Post by Beltane on Nov 23, 2010 8:39:39 GMT -5
Story in today's (23rd November) Wall Street Journal
"Anderson Avoids the Late-Career Tull On a Rare Solo Tour, the Classic-Rock Trailblazer Offers a Less Familiar Sound"
Being a subscription-based site, I'm loathe to post copyrighted material here...
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Post by tootull on Nov 23, 2010 9:08:42 GMT -5
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Post by tootull on Nov 27, 2010 10:37:33 GMT -5
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Post by tootull on Dec 2, 2010 9:54:21 GMT -5
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Post by tootull on Dec 2, 2010 11:01:02 GMT -5
Prop time: Look closely - I believe Ian's reading the The Story Of The Hare... (written by Jeffrey Hammond) from the "Trout Farming Manual" by John P. Stevenson. What, a hare is but a trout. What was he to do?
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Deleted
Deleted Member
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Post by Deleted on Dec 2, 2010 11:04:32 GMT -5
Prop time: Look closely - I believe Ian's reading the The Story Of The Hare... (written by Jeffrey Hammond) from the "Trout Farming Manual" by John P. Stevenson. What, a hare is but a trout. What was he to do? Would have been better if it was 'fly-fishing' by j R Hartley [UK TV advertising joke]
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Post by tootull on Dec 6, 2010 9:34:11 GMT -5
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Post by Programme on Dec 11, 2010 17:50:46 GMT -5
Ian Anderson at Lowell and Providence
I reposting this text with sincere apologies to the readers of this board, and ask the moderator to remove the posting that I had previously put up on this subject. There’s a moment when taking an Ambien after a glass of wine that Internet posting isn’t a particularly good idea, and my previous post was an example. When I read it the next day, I experienced a great deal of distress for what I wrote, and was horrified to realize that I hit the send button. As distressing as it was to read what I wrote, the recurrence of shame attacks over the next couple of days took some working through, and I thought I’d go for some closure by reposting to leave this experience behind.
I want to begin by saying that I know the music of Jethro Tull. I heard “Nothing is Easy” for the first time sitting in a dorm room in Boulder in my freshman year at the University of Colorado -- the first day that the local radio station KBCO had a copy of Stand Up. That was 41 years ago, and I remember it like it was yesterday.
It was like I heard music for the first time.
My first concert was at Mammoth Gardens in Denver in 1969. If you Google the words “Tull Tanglewood 1970” you’ll find a YouTube video for "Nothing is Easy" where, in the opening sequence of the camera panning the audience, a girl is talking to a guy in mid right frame. The guy is wearing a white T shirt and glasses. I’m the guy.
I’m a short hitter on concert attendance -- totaling a few over 100, but admit to flying from Denver to London for a weekend on at least a couple of occasions to see the band. The time I’ve spent listening to live performances pales to time listening to Ian’s recordings -- a frightfully large part of my nearly 60 years on this planet. I know every note of everything that Ian has composed. Listening to anything Tull, particularly played live, is a consuming experience. I’ve seen most lineups of the band live, with the exception of the 1968 Mick Abrahams version. I also went through a period of mourning when John Evan left the band, and missed Jobson. Like I said, I’m familiar with the music.
When I got to the Lowell Auditorium the night of the concert, I had forgotten that the band played in Torrington the night before. I forgot this bit of detail because my first thought after reading the tour itinerary when it came out was “why would anyone put a trip to western CT in the middle of the two MA dates?” It didn’t make any sense. So for some reason, I thought that after Northampton (which was a very good show) that the band had the day off.
I showed up at Lowell tired from a day of listening at a conference in Boston, and a little stressed from having gotten lost driving out of Boston. When I got to my seat, I found myself sitting with the “PLAY AQUALUNG” folks who had been drinking heavily. I didn’t care for the venue or the company around me. And then the lights dimmed, and I saw my hero, Mr. Anderson, struggling to start up the set.
Yes: My hero
We all have things that are important in our lives, and for me Ian’s music is in my top 3. And there have been moments in my life where it was the most important thing I had. I used to try to explain this to people in my life who question my sanity when it comes to Tull, but I’ve stopped trying to share it, and now I just buy single tickets to concerts.
Some have commented that they liked the Lowell concert, but I saw the side of my hero that I didn’t want to see. Older. Tired. Ian was having an off night. I kept hoping that the others in the band would step up to help – but they seemed as unconnected as Ian. I had a sense that the band was lost at Lowell, and I got lost myself. I was sad. I was angry. I was afraid, and maybe for the first time became afraid that in the passing of time I was llosing my hero.
In the couple of days I had to think about this, I came to appreciate how important Ian’s work has been in my life, and how much I admire what he has done with his music. He hasn’t been satisfied with writing as evidenced by the breadth of his body of work. He has willingness to attempt increasingly more-difficult pieces. It took a while to understand the changing musicians in the group, but his inviting new musicians into the Tull family has produced an amazing collection of music. It is quite remarkable when you think about it. Look at the credentials of the musicians that Ian has surrounded himself with and you will see those who have dedicated themselves to their craft. But I digress.
I had gotten a great single seat for the next night in Providence, but after Lowell debated most of the day of about making the drive from Boston to Providence. I was tired from three days of meetings, travel, 2 concerts, and I’m thinking the unthinkable for me about bailing on the Providence concert. I looked at the clock in the hotel room. 6 PM. Fuck it. Next thing I’m in the car getting lost again in Boston.
I got to Providence and took my seat after talking with security for some time about the possibility of meeting the band after the concert. I’ll tell you more about this at the end. Anyway, I’m sitting in my seat looking at the stage. All the gear was set back from the front – different than Northampton and Lowell. The lights go down. The seats in front of me are unoccupied so I have a great view. The band again opened with Life is a Long Song. I’m dreading hearing Ian’s voice struggle, but something was different. Then comes Up to Me. Nursie. Grip. All were on tempo and well played. In Set Aside Florian was watching Ian. Hmmm…. Then Hare and Wondering Again. All were well played. Ian Anderson and his band were getting it together.
And then Andantino. I wondered if Florian would play with energy? Would he step out? Would Ian and Ian’s ego be OK with it if he did? Florian killed it. The crowd – a very savvy Tull crowd judging from the audience singing that accompanied the band playing -- went wild. Ian seemed both pleased and energized.
This was followed by “Adrift and Dumbfounded”, and was played well enough to be worthy of a place on the next Tull album. I noticed the expression of both John O’Hara and David Goodier when they exchanged looks -- they seemed to acknowledge that it was going well. The Hare who Lost His Spectacle was the best of the three nights, and although I thought that it would have been better to include Forest Dance 2 following the speaking to better transition to the next song, WTF. Bouree was next, and played as well as it can be played.
After the interval I was in back in my seat in the fifth row center when the lights dimmed. During the first piece "untitled" I was smiling because the volume got turned up a little, and it was the good kind of loud. I couldn't wait for Thick as a Brick.
I saw Brick first played on my 21st birthday at Boston Garden. On that day Tull played the album in it’s entirety, after which Ian said, “And now for our second song….”. The opening of Brick is tedious for me to listen through, as it tests my patience to get through the repeating initial sequences, and I don't really care to hear a shortened version of the song. On this tour, however, patience pays off when “the poet and the painter casting shadows on the water, as the sun plays on the infantry returning from the sea” passage begins. I get a physical sensation of chills throughout my body when I hear this and the accompanying chord sequence. The extended version played on this tour was a real highlight, and I particularly enjoyed Ian’s speaking (instead of singing) the words above.
Florian followed with Tocatta and Fugue – Jesus, can this kid play. I occasionally teach, and there are moments when you have a student that does truly amazing things, and you are reduced to watching and smiling. I do believe I saw Ian smiling.
When “A Change of Horses’ began I was captivated. There are segments of this piece that remind me of Thomas Newman’s scores. Haunting. Slow. Ian took his time entering into this piece, giving John O’Hara more time to explore the opening. I love this song, and I loved it more when they were done. It was just magnificent.
And then I'm thinking, why “Budapest”? It's going so well.
Up to this point of the concert the playing had been superb, and I mean Jethro-Tull-everything-played-with-note-by-note perfection, in tempo, and with the right emphasis. And all I could think was “Why are they going to kill the flow with Budapest”.
Don’t get me wrong, I like Budapest, but it a mental commitment for me to get through. I’ve seen it played so many times, and it can sometimes drag, and I didn't know if I could listen to its entirety. But tonight, oh no, not tonight: just when these thoughts went through my mind, I was hearing a Budapest I’d never heard. Yes the same notes and same song, but it had an energy. And its somewhat awkward to admit, but it was at this point that tears started streaming down my face and I began to cry -- a bunch of emotion coming out. It was the best I’d seen and heard Budapest played – ever. And it was then that it became obvious to me what was different tonight, and what had been missing at Lowell.
Over the years I’ve noticed that Ian is the boss. He's upfront. Iif you play with Ian, he’s the boss. The script is very tight. There is very little, if any, improvisation. It’s about precision and control. I’ve seen Martin put a few changes into his playing, but for the most part, no one steps away from the script. What made Budapest interesting was that throughout this piece there were subtle little differences when each of the musicians had their time to contribute. Not enough to be disrespectful of the original piece, but enough to think that there was a bit of “I’m going to change this just a little” thinking. And what was really interesting was that Ian went with it. And I’d even say he seemed thrilled. This wasn’t Ian Anderson and his band. It was, and I’m saying this with enormous respect for all involved……it was Jethro Tull.
What followed from Budapest is difficult to describe. Emotionally I was lost in the rapture of the rest of the night. New backlighting put them in shadow for the next song, with fingers of light streaming around them into the audience. It was a stunning effect. When they got to the short segment that John O’Hara has kept in from the original version of Aqualung, I thought my head was going to explode. Florian plays it slightly differently than Martin (Florian plays more in first position), and his fingering on lower bass notes puts a different kind of power into the song. I, as well as the audience, was dazed when Aqualung ended. It took a moment to realize that it was over, and that we should all stand up and cheer. We did.
And then they turned on the blue lights. Instead of clapping in the dark, we were standing in blue light. It was an experience.
I couldn’t tell you what they played for the encore, except that when they took their bow at the end, I saw 5 musicians who had played their hearts out, playing the music of Ian Anderson, playing as proudly as any member of Jethro Tull would ever want to play. My hero was back, and I would say my new group of heroes, were back as well. Bravo…..
Epilog
I have four pieces of Tull memorabilia that are meaningful to me. I have an original master recording of Stand Up purchased from a collector in Japan. I have Martin’s “A Summer Band” CD that I paid a fortune for. I have a program from the 5th Annual Jethro Tull conference in Vermont (signed by Glen Cornick while a group of us were talking to him about the early day’s of Tull). And I have an Ian-autographed handbill of Jethro Tull’s 2006 Aqualung tour in the UK that I framed with a London-to-Cheltenham Cheap Day Return train ticket. I’m trying to replace a fifth piece – the signed Aqualung poster – with an as-yet unsigned photograph of Ian as a very young man standing backstage wearing wastecoat and holding his flute that I bought from a collector some years back. I carried it to Northampton, Lowell, and Providence hoping for an autograph.
I failed attempt number 1 at Northampton as I couldn’t figure out where the band was going to be post-show. Two nights later I stumbled around backstage at Lowell, and eventually found some people who had arranged ahead of time with security to see Ian. I had my opening, briefly hesitated, and in the hesitation got held back by event security. I waited for a long time, and eventually got asked to leave by Tull’s head of security who seemed most unhappy to be speaking to me. At Providence I did some due diligence with event security before the show, hoping to capitalize on the Lowell knowledge. As the audience departed the auditorium I spotted the group at stage right waiting to go backstage. I joined them, but was caught by the gaze of security with the “this is never going to happen” look. It was then that I noticed the stick-on back stage passes that people were wearing. Oh well.
As I turned and walked out of the venue, I had three thoughts: 1) downtown Providence on a clear night after a terrific Tull concert is a great place; 2) my as-yet unsigned picture will have to wait for another day; and 3) thank you, Ian.
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Post by TM on Dec 11, 2010 19:13:26 GMT -5
Hi Programme,
You have the ability to delete your own threads if you like. I'm not sure which exact post you are referring to, so I will leave it you.
Paul
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