Deleted
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Post by Deleted on Apr 13, 2011 15:20:42 GMT -5
Let's talk about some of our favorite keyboard players that have been in Jethro Tull. Of course, most of us will praise John Evan, and D Palmer for that matter. I really love Andrew Giddings keyboard part in "Hunt by Numbers" on Dot Com. Another one of my favorite examples of Tull keyboard playing is Velvet Green
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Icecreamman
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Post by Icecreamman on Apr 15, 2011 13:25:41 GMT -5
Let's talk about some of our favorite keyboard players that have been in Jethro Tull. Of course, most of us will praise John Evan, and D Palmer for that matter. I really love Andrew Giddings keyboard part in "Hunt by Numbers" on Dot Com. Another one of my favorite examples of Tull keyboard playing is Velvet Green I agree--Velvet Green is one of my favorite of all Tull songs, and the keyboard part is one of the main reasons (the lyrics as well). I recently learned it to perform with the Tull tribute band I'm in (Warchild), and it's as close to Bach's compositions that Ian has ever written. John Evans was the quintessential Tull keyboard player in my opinion. Michael
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Post by martinbarreshat on Oct 12, 2011 10:53:52 GMT -5
John Evans was great but so was David/Dee Palmer.I liked Andy Giddings too and John O'Hara is an excellent replacment for him.
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Post by awol on Oct 12, 2011 16:04:45 GMT -5
I really like Peter-John Vettesse. The speed at which he could play I think uniquely carried the energy of the super fast songs. Until I saw the Under Wraps Concert I didnt even realise fully the soundscapes he created spinning his hands nearly in a blurr.
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Post by zafreth on Oct 12, 2011 18:55:33 GMT -5
John Evan for me
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Post by Deleted on Oct 12, 2011 20:23:42 GMT -5
John Evan! He was a founding member of the band, even tho he wasn't present for the 1st 2 albums. His playing and input allowed Tulls sound to become what it was. Besides nobody since has played that screaming Hammond B3 the way he did, or turn a classical phrase into a cool bluesy thing the way he could on the piano. There may have been more technically proficient "keyboard" players later on than he, but his presence and input into the Tull we knew and loved was invaluable, so much more so than all the others put together.
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Stjerky
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Post by Stjerky on Oct 13, 2011 2:18:49 GMT -5
John Evan for me too.
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Post by Geoff CB on Oct 14, 2011 2:50:02 GMT -5
John Evan! He was a founding member of the band, even tho he wasn't present for the 1st 2 albums. His playing and input allowed Tulls sound to become what it was. Besides nobody since has played that screaming Hammond B3 the way he did, or turn a classical phrase into a cool bluesy thing the way he could on the piano. There may have been more technically proficient "keyboard" players later on than he, but his presence and input into the Tull we knew and loved was invaluable, so much more so than all the others put together. Yes, I think you're correct!
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skytzo
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Post by skytzo on Dec 9, 2011 17:41:42 GMT -5
John Evan's growling Hammond B3 playing all over TAAB seals the deal for me. Not to mention APP when he started adding cool Moog synth parts into the mix with the piano & Hammond. Strange that he pretty much got away from the synth use after Warchild....
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Mttbsh
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Post by Mttbsh on Dec 10, 2011 0:03:50 GMT -5
.. and do you remember how during some of the wilder parts of the show John would run out and kneel before Martin or flail around Ian, waving his arms like a mad man. Ian would occasionally escort him back to his organ. The guy was a real clown as well as an incredible player. Watching Giddings trying to clown around a little used to bug me - Evans was the real deal and not to be imitated.
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Post by Deleted on Dec 10, 2011 6:36:04 GMT -5
.. and do you remember how during some of the wilder parts of the show John would run out and kneel before Martin or flail around Ian, waving his arms like a mad man. Ian would occasionally escort him back to his organ. The guy was a real clown as well as an incredible player. Watching Giddings trying to clown around a little used to bug me - Evans was the real deal and not to be imitated. Have to say JE was the real deal, as much as I admired the respect AG showed in replicating and emphasising the JE piano parts on certain songs like Locomotive Breath, I couldn't quite take to the aping of some of JE's stage antics. It made it seem much more 'forced' as a parody rather than being part of AG's natural style of stage playing, and it detracted from show rather than adding to it.
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Post by Preston Platform on Dec 10, 2011 8:52:17 GMT -5
I also used to get reallly fed up of Andy Giddings forced theatrics...... they became far too predictable as time went on
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Post by jtul07 on Dec 10, 2011 9:59:32 GMT -5
.. and do you remember how during some of the wilder parts of the show John would run out and kneel before Martin or flail around Ian, waving his arms like a mad man. Ian would occasionally escort him back to his organ. The guy was a real clown as well as an incredible player. Watching Giddings trying to clown around a little used to bug me - Evans was the real deal and not to be imitated. I agree with most of these points. However, Andy Giddings was not trying to be like John. I think he was a genuine showman in his own way. The real problem on stage for Tull started years ago. When Jeffrey, John, and even Barrie would do almost anything to get a laugh. I believe it was great while it lasted, but you can't sustain that type of humor forever. At the time when Ian was going full blast with costumes and characters, everyone was so entertained it just seemed normal. Eventually they toned it down and let the music do the work. I wonder if Ian felt John had too much fun being John the "Icecream Man"? This may subconsciously have made Ian uncomfortable on stage because Ian was the "Minstrel" character. With all the theatrics and humor, Ian may have wanted to put the focus more on himself. When there are so many characters on stage, people become confused about what the show is about. Gimmicks or Music.........? Remember the telephone?............................................................. "It's for you" ;D
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Post by My God on Dec 10, 2011 10:47:07 GMT -5
I also used to get reallly fed up of Andy Giddings forced theatrics...... they became far too predictable as time went on John Evans was the consummate Tull keyboardist of all time. No one even comes close. Reasons for waiting.
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Icecreamman
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Post by Icecreamman on Dec 10, 2011 11:56:29 GMT -5
I also used to get reallly fed up of Andy Giddings forced theatrics...... they became far too predictable as time went on John Evans was the consummate Tull keyboardist of all time. No one even comes close. I agree whole- heartedly! Reasons for waiting.
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Post by austrian on Dec 10, 2011 12:14:55 GMT -5
For me it's Peter Vetesse, I really like his influence in the 80s work of Tull and IA solo. But it's really the same thing as with the other instruments: Every member of Tull was perfect for the time he was in the band and for the material Ian and the guys wrote at that point in time. But PJV's sounds are something special and also the way he used those sounds in the Tull and IA context really is something that made for a very enrichening portion of the Tull catalogue.
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Post by Deleted on Dec 11, 2011 15:42:51 GMT -5
.. and do you remember how during some of the wilder parts of the show John would run out and kneel before Martin or flail around Ian, waving his arms like a mad man. Ian would occasionally escort him back to his organ. The guy was a real clown as well as an incredible player. Watching Giddings trying to clown around a little used to bug me - Evans was the real deal and not to be imitated. Have to say JE was the real deal, as much as I admired the respect AG showed in replicating and emphasising the JE piano parts on certain songs like Locomotive Breath, I couldn't quite take to the aping of some of JE's stage antics. It made it seem much more 'forced' as a parody rather than being part of AG's natural style of stage playing, and it detracted from show rather than adding to it. Johns Piano and his Hammond use to be at opposite ends of the stage. From 71 on, the encore would start with Wind Up, John on Piano, by the end of the encore during the jam after Hard Head English Generals, John had been on the organ and he had to cross the stage for the piano reprise for Wind Up. During the jam Ian would take over on organ (I remember thinking wow, keyboards too?!) and John would make a big show of making his way back across the stage. I was reading this as, Ian just took over Johns station so, John did his version of Ian in his clown/Harpo fashion, mocking him all the way. As they did basically the same encore for 71, 72 and 73, Johns bit grew and grew. By 75 (Warchild) Johns Piano and Hammond were integrated on the same side of the stage so there was actually no real need for Ian to take to the Hammond at that point in the show, but they did it anyway and John upped his bit even further. Running around for quite a while flailing arms, sliding on his knees. They continued this all through the 70s. I don't know if it was Ian's desire to show his keyboard playing or John's desire to get out from behind them. But I think Ian enjoyed having himself "sent up" a little as he was such the star of the stage all night. He always said they didn't want to take themselves so seriously. Ian continued this later with other keyboard players, Vettese and Giddings, maybe thats why Giddings was mugging John's old bit, I never saw him do it though. I have a feeling everything that went on on stage in the seventies was approved by all. Nobody was making fun of Ian without his full approval. I liked John's "Harpo" character because like Harpo Marx, he was in reality the the most eloquent beautiful player! Darin
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Post by jtul07 on Dec 12, 2011 8:53:15 GMT -5
For me it's Peter Vetesse, I really like his influence in the 80s work of Tull and IA solo. But it's really the same thing as with the other instruments: Every member of Tull was perfect for the time he was in the band and for the material Ian and the guys wrote at that point in time. But PJV's sounds are something special and also the way he used those sounds in the Tull and IA context really is something that made for a very enrichening portion of the Tull catalogue. When Peter-John Vettese was first involved with Ian and Tull, I wondered if he would last very long. His style was great at times but he seemed out of place. Eventually people blamed him for all the sounds Ian was using and I guess he had to take the fall. Under Wraps was a great album but fans were less impressed. I enjoyed it then and still do. Broadsword and Walk into Light are classics no matter what the critics say. I think it was the glasses that people didn't like.
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Post by tootull on Dec 12, 2011 9:45:11 GMT -5
For me it's Peter Vetesse, I really like his influence in the 80s work of Tull and IA solo. But it's really the same thing as with the other instruments: Every member of Tull was perfect for the time he was in the band and for the material Ian and the guys wrote at that point in time. But PJV's sounds are something special and also the way he used those sounds in the Tull and IA context really is something that made for a very enrichening portion of the Tull catalogue. When Peter-John Vettese was first involved with Ian and Tull, I wondered if he would last very long. His style was great at times but he seemed out of place. Eventually people blamed him for all the sounds Ian was using and I guess he had to take the fall. Under Wraps was a great album but fans were less impressed. I enjoyed it then and still do. Broadsword and Walk into Light are classics no matter what the critics say. I think it was the glasses that people didn't like. I love Walk Into Light & Under Wraps ( UW original LP tracks). Worshiped them from the start. I have no problem with the sound. They are cool relics of the time. Much enjoyed today. s1015.photobucket.com/albums/af278/tootull/?action=view¤t=IanAndersonWalkIntoLightBGOoriginal.jpg
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Post by My God on Dec 12, 2011 10:10:23 GMT -5
For me it's Peter Vetesse, I really like his influence in the 80s work of Tull and IA solo. But it's really the same thing as with the other instruments: Every member of Tull was perfect for the time he was in the band and for the material Ian and the guys wrote at that point in time. But PJV's sounds are something special and also the way he used those sounds in the Tull and IA context really is something that made for a very enrichening portion of the Tull catalogue. When Peter-John Vettese was first involved with Ian and Tull, I wondered if he would last very long. His style was great at times but he seemed out of place. Eventually people blamed him for all the sounds Ian was using and I guess he had to take the fall. Under Wraps was a great album but fans were less impressed. I enjoyed it then and still do. Broadsword and Walk into Light are classics no matter what the critics say. I think it was the glasses that people didn't like. Peter- John Vettese was okay. Still couldn't beat John Evans. I got you Under Wraps.
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Post by Deleted on Dec 12, 2011 14:36:58 GMT -5
When Peter-John Vettese was first involved with Ian and Tull, I wondered if he would last very long. His style was great at times but he seemed out of place. Eventually people blamed him for all the sounds Ian was using and I guess he had to take the fall. Under Wraps was a great album but fans were less impressed. I enjoyed it then and still do. Broadsword and Walk into Light are classics no matter what the critics say. I think it was the glasses that people didn't like. Peter- John Vettese was okay. Still couldn't beat John Evans. I got you Under Wraps. I thought Vettesse was a great player, loved his solos and his Synth Axe. His interviews and stories in "The Fully Authorized Story..." were hiiiilarious, a very well spoken guy. Darin
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Post by jtul07 on Dec 12, 2011 16:06:27 GMT -5
Peter-John Vettese 1983 Ian goes GQ with his Tull-a-phone.
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Post by austrian on Dec 14, 2011 6:01:29 GMT -5
I just listened to a bootleg of one of the shows in 84, and it's really a mess sometimes. The performance seems totally rushed and lacks the relaxed awesomeness I like so much about all the incarnations of Tull. Now I think the combination of the musicians wasn't the best on stage, but in the studio they could clearly stand their ground.
Funny, the classic Tull stuff didn't work at all at that show, very unpleasant to listen to, also because of Martin's sound which only seems to work for the UW-material.
So who was the best live keyboard player for Tull? I can't help but to suggest for me it's Giddings, he could pull just about any song in a very relaxed and disciplined manner. I haven't heard him rushing the LocoBreath intro or any other intro/break/outro/ending/whatever.
From that 84 show the most unpleasant thing for me is this rushing through the setlist, and I can't help to think that a lot of that came from Vetesse. Peggy also had his fingers in there I guess.
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Post by Deleted on Dec 14, 2011 6:32:29 GMT -5
It's common that the speed or pitch of a bootleg could be wrong. Was it a soundboard source or audience recorded?
I have to agree 100% with a quote from this very thread, without question:
"John Evans was the consummate Tull keyboardist of all time. No one even comes close"
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Post by austrian on Dec 15, 2011 9:20:29 GMT -5
I don't think that the speed of the bootleg was very much faster than the original performance. There are songs where the band is extremely right on the spot, but they just tend to rush it at this particular concert. I guess it's a soundboard recording.
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