Old Tull reviews

[Preston Platform]

I thought I would post some reviews of Tull and Ian Anderson shows I wrote a while back . These can be found on the DPRP site originally.


21 July 2005
Summer Pops '05, The Big Top, Liverpool, UK

From the moment Tull entered the stage, the energy was high and the playing totally focused. It was apparent that this was going to be a special Tull night. This performance was not a pale imitation of former glories but rather a reincarnation of awesome proportions. Gone was the sloppiness which had marred Tull’s last appearance in Liverpool at the Liverpool Royal Court Theatre, in 2004. This was Tull in top form. Anderson was in superb vocal form. From my position, five rows front centre, his voice sounded better than any Tull concert since 1984.
The set list, although familiar and somewhat predictable, was a real improvement from the Christmas album laden and disappointing February 2004 UK gigs. There was no encore as Roger Chapman had overrun. It's probable that a number of other tunes were left out from the set because of this. After Aqualung, Ian said "let's keep playing and not do that encore thing - time's running out".

The highlight of the night was undoubtedly Martin Barre's playing. In 30+ Tull gigs I have attended since 1974, I have rarely seen him so energised. It was Martin's night at the big top. He took numerous spotlighted solos. He smiled and joked with the crowd. He even threatened to crowd surf into the audience during Locomotive Breath. His performance was immaculate. There were many highlights including a great slow solo which embellished Serenade To A Cuckoo and his chunky riffs on Up To Me really caught fire. On this form, Martin is not ready yet to relinquish his Tull spot to the precociously talented Florian Opahle.

Thick As A Brick was a welcome return to the setlist. I had not heard Tull play this since the 2001 tour. It enabled all members of the band to show their ability. There was total empathy between musicians and music and it brought the house down. Quite stunning. Budapest was also a highlight including extended keyboard, flute, and guitar interplay with Martin adopting a fantastic tone for his solo slots in this piece.

The Big Top was almost full to its 4,500 capacity and was by far the most enthusiastic and appreciative audience I had witnessed at a Tull show in many years.
The crowd were animated in their appreciation. Recent UK performances have often been received in a muted way by the audience, but not in Liverpool on Thursday. The band received numerous standing ovations, which appeared to inspire all band members and raise their performance to a even higher level.
I left The Big Top having witnessed probably the best Tull performance I have seen in a long long time.

[Preston Platform]

Wednesday, 9th April 2008
The Lowry, Salford, UK

On a night of European Champions league glory for Manchester United just a mere half mile away, Jethro Tull were simultaneously producing their own performance of two halves. The first half a rather luck lustre affair: the second half a dynamic even inspirational performance spanning the years and belying Tull's veteran status. Such was the nature of the concert witnessed at The Lowry on Wednesday, 9th April 2008.

The proceedings began with a duo from Mostly Autumn. Bryan Josh was joined by Heather Findlay and played acoustic renditions of This Great Pearl and Evergreen. They were joined by ¾ of Jethro Tull on a track from Passengers and by the fluent guitar lines of Martin Barre on a cut from their forthcoming new release. I was familiar with Pearl and Evergreen, the latter being my favourite Mostly Autumn track, however this performance was substantially below the standard expected from members of such a prestigious UK progressive rock band. These tracks rearranged for an acoustic rendition sounded weak and repetitive. The Passengers track was equally insipid and the introduction of Ian Anderson on flute did little to raise it from average rock fare.

Anderson frankly looked disinterested and played from a reclined position on the drum rise. As a consequence his flute interventions seemed to lack substance and were substantially well below par.

The unrehearsed nature of this section of the concert was further revealed when Heather Findlay introduced the next song to be performed from their forthcoming album but ‘tonight featuring Jethro Tull's guitar player... total silence... she had forgotten Martin’s name ...Anderson subsequently took over and announced Martin Barre. Martin was received with polite applause and embellished the track with some tasty guitar work.

As soon as Bryan and Heather exited the stage ‘An Evening With Jethro Tull’ began.

No fanfare or elaborate stage introduction (as previously witnessed by the sweeping roadies of 1972, the wonderful Strange Avenues intro of 1989, or the personal introduction for each gig by Ian in 1995) was necessary. This was to be an evening with the emphasis on the music rather than showmanship.

The rhythm section of Perry and Goodier drew a cheer as they introduced Living In The Past and the songs from Tull's wonderful back catalogue just flowed and flowed. I particularly enjoyed One For John Gee performed live for the first time during this 40th anniversary tour. This track personified the enduring, genre breaking and eclectic nature of Tull’s music. Its inspired jazz like sound and structure allowed members of the ensemble the freedom to improvise and solo. Martin Barre's contribution in this piece emphasised his ability to play in a variety of genres and styles.

Despite a great selection of songs the first half was lacking. On reflection I am not sure exactly which ingredient did not quite gel. Maybe, it was the lack of a grand entrance, or Anderson's uncharacteristically weak flute on Serenade To A Cuckoo, or perhaps the sampled flutes during a blistering rendition of For A Thousand Mothers, or even the obtrusive backdrop of images and videos of Ian Anderson in his 20 something prime. These images compared with the stark reality of Ian in his dog eared years were a real distraction.

At any rate, the general consensus amongst the number of die hard Tull fans in the first few rows during the interval was that Tull were playing within themselves. The set was great, the performance was OK but...

This was however, a performance of two halves and the second half undoubtedly belonged to Tull.

The opening riff of Heavy Horses rang out and the show was underway once more. I enjoyed hearing a full version of this song which had not been played in its entirety for some years. Even the sampled violin accompaniment was fine. The sound was clear and Anderson's voice was surprisingly powerful as he lamented the demise of the Percheron. Backing vocals provided by David Goodier were slightly out of time but did not detract from the overall impact of the song.

A wonderful medley followed; of We Used To Know, Witches Promise and With You There To Help Me. Sections of music effortlessly segued into each other and the overall impression (despite some challenged vocals) was that this was some of the best Tull music ever. Special mention must be made of Martin Barre who in the second half of the show became increasingly energised. His playing on With You There To Help Me rolled back the years. He skilfully and faithfully recreated the sound of 1970 but added even greater emotive flair into the mix.

Dharma For One was simply outstanding. In this song Doane Perry was given ample opportunity to show what a capable player he is. The ensemble playing throughout the second half was brilliant and Dharma was memorable for this.

The show roared along towards its energy sapping conclusion of Locomotive Breath.

With a final flurry of No Way To Slow Down, Tull left the stage. No balloons, no Louis Armstrong outro, just a realisation that Tull had once again served up a memorable feast of high quality music and entertainment. I strongly recommend you see this unique band if you can, before they finally and inevitably call it a day.

Oh and for those interested in the score It was Man United 1 Roma 0

...and just half a mile away from Old Trafford the score was

Jethro Tull (0) 5 Doubters (0) 0

[Preston Platform]

Sunday, 29th July 2007
The Subscription Rooms
Stroud, Gloucestershire, UK

A crescendo of applause, frantic cries for more, and a sustained standing ovation, the 2007 incarnation of Tull left the stage after 2 hours plus of breathtaking intimate music. The audience had witnessed an accomplished, powerful and confident performance that had turned back the years and often reminded of Tull at their peak.

The concert of Sunday, 29th July 2007, was a special show. It had been arranged by the radio station Planet Rock and advertised as a secret gig at a secret location. It was to be attended by 200 competition winners and guests drawn at random. I was fortunate enough to be one of the winners. I hoped that my latest attendance at a Tull show would not only be particularly memorable for the circumstances surrounding the show, but also for the music. I was not to be disappointed.

The venue at The Subscription Rooms in Stroud, Gloucestershire was perfect for the event. The Subscription rooms is a listed building with a small concert hall seating just 400. My seat on the front row slightly stage left was specifically chosen by me to give a close view of Martin Barre’s playing.

At 7.30 pm the show began. Living in the Past was first up, David Goodier’s six string bass and James Duncan’s drums providing an outstanding platform for the songs distinctive time signature. This was to be a fully electric Tull set as befitting a Planet Rock audience. The band was on fire, and this high level of energy and excellence was a feature of the evening. The newly recorded track The Donkey and the Drum was particularly moving. This instrumental piece was first played during Tull’s UK Spring 2007 acoustic tour. Its eclectic and progressive nature made it impressive then, but with a fuller electric sound it sounded simply outstanding.It contains all of the elements that have made Tull unique. I am hoping that this composition will be included in the new Tull CD which apparently should surface sometime in the next 12 months.

As in the acoustic tour, Tull were joined on stage for some numbers by Anna Phoebe. She excelled in every aspect. Her composition Gypsy was superb. It was very Tull like, and was reminiscent of Tull's Middle Eastern influenced sound from the Roots to Branches era. Anna Phoebe’s energy seemed to inspire Ian Anderson. The interplay between flute and violin was breath taking. There was a real chemistry/affinity between them which grew and developed as the evening wore on.

The first half of the show closed with a delightfully extended version of Bouree which included a bass solo. David Goodier’s bass playing was skillful, forceful and melodic. He does not have the stage presence of players like Glenn Cornick or Jeffrey Hammond Hammond, but is more animated than some Tull bassists have been. This was apparent at Stroud where he bounced along, mouthed and also sang the bass lines produced. All evening he interpreted the bass lines of various past Tull bassists with some aplomb and in his solo slots his jazz influences came to the fore.

The second half of the show was even more powerful and enjoyable than the first, beginning with a blistering rendition of Nothing is Easy.

There were however one or two negative aspects of the show. Ian Anderson’s voice sounded fine from the front row, but is a pale shadow of what it once was. The contrived humour, which has blighted Tull shows in recent years is still apparent. The hernia joke was performed yet again at the end of My God. The Planet rock crowd loved it though. I guess that is the point, people in the audience I spoke to were seeing Tull for the first or at most second time and as such, moments like the hernia joke still possess some magic or at least a certain quaint charm. The negative points mentioned though pale into insignificance when measured against the quality of the whole experience of seeing Tull perform. There were so many highlights in this inspirational concert that it is perhaps unfair to criticise specific parts.

Ian Anderson was in a jovial,talkative and relaxed mood. He was clearly enjoying the challenge and intimacy of playing to such a small crowd. The stripped down lighting helped to ensure that the crowd were visible to the band. This helped to create a magical point of contact between the performers and the audience. This intimacy was displayed by numerous smiles, comments, waves and winks and contributed to the success of the show.

Special mention, however, must be made of the magnificent playing of Martin Barre. His contribution to each song was immeasurable and immense. His instrumental piece After you after me was spell-binding in its intensity, incorporating a wide range of styles including some frantic shedding. His playing throughout the concert had the right balance of muscle and finesse. Piece after piece were embellished by free flowing solos which were expertly developed and executed. He looked relaxed and was having fun in this small setting, noticeably gaining a visible rapport with the audience. When Martin Barre is in this type of form, Tull invariably raise the bar to another level. This level of musical attainment was exemplified by the arrangement of Aqualung which was symphonic and totally outstanding.

The concert finished with a rousing version of Locomotive Breath. The relaxed and unique nature of this gig was summed up when both Ian & Martin left the stage to hide from keyboardist John O’Hara during his keyboard intro. They then surprised him by emerging from the front row of the audience to play. It was a priceless moment, and was genuinely funny. Locomotive Breath included a wonderfully extended instrumental section which allowed all players the freedom to express themselves.

Two hours of glorious, entertaining and enthralling music was over all too soon. I felt saddened that this unique show might be the last time I see Tull perform in such an accomplished manner. Nevertheless, I felt grateful and honoured to see Tull perform at this level of intensity and musical integrity in what is approaching their 40th year of existence.

[Preston Platform]

Ian Anderson
January 23rd 2005
Royal Concert Hall, Glasgow, Scotland

Wonderful venue , superb centre front row seats I really enjoyed the concert , but it was sad to witness so many things which surely indicate that the end of Tull is not far away.
On this showing the Ian Anderson band were better than Tull’s 2004 incarnation. They were not complacent as Tull had been on the UK 2004 tour.
The mistakes which marred Tulls February tour were not apparent. The Ian Anderson band improvised and played with a freedom rarely seen in Tull's playing these days. Both My God and Budapest featured new arrangements and extensive improvised sections by Ian and Florian Opahle. The 21 yr old guitar player Florian Opahle was magnificient. His acoustic guitar work was exemplary and his limited opportunities on electric guitar were spine tingling. Simply outstanding. I would love to see him play in a truly electric Tull setting guesting and swapping guitar leads with Martin Barre.
Keyboardplayer John O’ Hara was excellent and would be a great replacement for A. Giddings if Ian wanted to shake things up.

The musical highlight was an extended Aqualung which began with Aquadiddley and then segued into the orchestral arrangement which was played extensively durinhg the 1995 Divinities and Roots To Branches tours. It was superb. Ians flute playing throughout the night was flawless. One minute melodic and subtle in tracks such as Griminelli's Lament from Rupis Dance, the next, rasping and viscious as in an extended solo in My God.

However, the negatives outweighed the good performance of the band . Half empty venue. The set list was disappointing and hardly reflected the gigs billing as an Ian Anderson solo concert. Many fans had travelled specifically to see songs from Rupis dance and SLOB being performed. What we got was neither Tull nor something new, rather a watered down Tull gig . In fact almost a rehash of the disappointing Edinburgh concert some 5 months ago.
Many in the audience had attended that gig and speaking to some it was clear they were suitably unimpressed by hearing more or less the same gig again.

It was undeniable that all the players performed well and the music was magnificient, but a check of previous concerts played by this band indicates their range of songs played is limited. More rehearsal and more songs at their disposal and this band could become a effective vehicle for any new Ian Anderson material and a worthy alternative to Tull.

Ians voice was reasonable throughout the night but was in tatters during Budapest and Locomotive Breath. I don’t have a problem with that, Ian’s music is more than a voice.

A number of songs including slipstream and up to me had been dropped from the setlist with Ian apparently suffering from flu. This explains the high proportion of instrumentals played.

A further negative, I don’t expect to hear the same stage patter as on the 2004 tour. It was laboured and the audience of die hards appeared muted and bored. Similarly where once Ian’s hernia movements were funny, to do it twice in one night during Bouree and My God is somewhat stretching it.

However , it is easy to be critical. I for one am just glad that Ian continues to perform and entertain on a regular basis.

Setlist:
Life Is A Long Song
Skating Away...
Eurology
Up The 'Pool
Greensleeved
Jack In The Green
Boris Dancing
Pavane
Griminelli's Lament
Cheap Day Return
Mother Goose
Bouree
Weathercock
Living In The Past
In The Grip Of Stronger Stuff
Aqualung
My God
Budapest

Locomotive Breath

[Nonfatman]

Thanks, Preston, those were well-written reviews which collectively express what many of us have experienced with Tull and IA shows over the last eight or nine years: a mixed bag musically and vocally, and mostly unsatisfying set lists.

This year's tour will likely be no different. Although a lot of songs that were never (or rarely) played before are promised, chances are there will only be one or two of those, plus a whole lot of the "tried and trusty favorites" and nothing new, certainly no new album by then. I hope I am wrong.

Tull almost lost me completely after an absolutely dreadful show in New Jersey that Tommie from this board also attended in November 2007. It was the first tour with the new Tull line-up, and it was simply horrendous. A fulll 80% of the show was instrumental. The nauseating Griminnelli's Lament was played yet again. The band performed a cover of an ELP song, and worst of all, a string quartet perfomed an instrumental of HH/SFTW without Ian.....that is until the very end, when he puckishly popped up and added a few flute lines. Oh, and his singing that night -- what little of it there was -- can best be described as croaking. It was so bad that I felt embarrassed because I brought some guest, and Tommie relates that he nearly walked out. And I did not even bother to go to the NYC show a few days later, which ordinarily I would have not missed.

Fortunately I decided to give them one more chance, and bought a ticket to a single show for the 40th anniversary in August 2008, and guess what? They kicked ass....a total return to form, both musically and vocally, which pulled me right back in! (Tommie was at that one too and concurs.)

Jeff

[Deleted]

:-/thanks for the reviews of the shows Preston, now I know why I would never make it journalism thanks again

[tootull]

Jethro Tull till the end of time it seems
by Peter Howell, Toronto Star, November 4, 1992

Jethro Tull had barely started its show at Massey Hall last night
before the jokes started about ancient rock stars.
"We're the Jolly Jethros.We're also the exceedingly friggin' old
Jethros," said frontman Ian Anderson, who used much saltier language.
At 45, Anderson is hardly old, yet he has been obsessed with
mortality for a long time. This is the guy who wrote the songs "Living
In The Past" and "Too Old To Rock And Roll, Too Young To Die", while he
was still in his 20s. Both songs were played in the first of two
sold-out Massey (Hall) nights, as well as other Tull faves like
"Aqualung".
Anderson is cranky enough to be a codger. He warned the audience he
wanted no "war whoops" because "I like to hear what I'm playing, even if
you prefer the sound of your own ridiculous voices...save it for Bruce
Springsteen!"
The band and its music has always had a rather stately aspect to it,
with traditional folk tunes sliding in between jazzy instrumentals and
bluesy rock. Only Jethro Tull could successfully pull off segueing from
its ancient "My God" into the Christmas chestnut "God Rest Ye Merry
Gentlemen".
The show was split into two parts, with the first being more or
less acoustic and the second featuring longer excursions into Tull's
progressive bent, on songs like "With You (There) To Help Me" and "My
Sunday Feeling".
Part one was the most satisfying, Anderson's raspy voice works best
when it's higher in the mix, and not being overwhelmed by the Fairport
Convention rhythm section of bassist Dave Pegg and drummer Dave Mattacks
-- as happened sometimes in the show's second half. There was also an
inventive use of theatre, whereby Anderson played the obliging barkeep,
pouring wine for fans (who were later also treated to ice cream bars)
and amusing a short-skirted serving wench at an on-stage table.
But it's the sheer musicality of Jethro Tull that keeps old fans
returning and newer fans discovering, in particular Anderson's sublime
flute playing -- only he can make it an integral part of a rock concert.
Tull has been around since before the earth cooled, it seems, but it can
still put on a pretty cool show.

[tootull]

June 4, 1995
Rock of Middle Ages

You could consider Ian Anderson's performance last night the rock
show that never was.
Instead, the erstwhile Jethro Tull frontman and flutist embarked on
a new-age jaunt to the delight of a half-filled Massey Hall.
The rockless show was divided evenly into two sets. The first was
comprised of works from Anderson's new neo-classical concept disc
Divinities: Twelve Dances with God, the second of equally airy
reworkings of Jethro Tull favorites like 'Life Is A Long Song' and
Aqualung.
The latter portion was not exactly a conventional way to take in a hard
rock guru. Then again, we're talking about the guy who beat out
Metallica for a "Best Metal Act" Grammy, armed with a flute.
With each of the 12 Divinities' tracks reflecting varying religions
and cultures, the first set was an aural mishmash of ethnicities through
the eyes (or rather the valves) of a flute.
For example, 'In Maternal Grace' represented what Anderson called
"the good side of Catholicism". 'At Their Father's Knee' was inspired by
Judaism. 'En Afrique' stood for African cultures. 'In The Olive Garden'
and 'In The Times Of India', sampled Mediterranean and South Asian
cultures, respectively.
Each piece clocked in at standard pop song length.
Working on Anderson's behalf was the fact that there were no
vocals in the first set. So, there were no worries of coming off
ill-formed of said religions.
Likewise, none of it sounded overtly characteristic of the intended
cultural sources, save for certain passages where similar Celtic and
Arabic strains took hold.
Instead, Anderson avoided heavy handed, pseudo- "World Beat"
tactics, and played each springy number with utmost care and precision,
never straying too far from his almost medieval-sounding melodies.
Due to the extensive us of synthesized orchestration, the depth and
warmth of traditional instruments was sometimes lost. Still, Anderson's
fine percussionist added ample muscle.
"There's no high art here," Anderson mockingly admonished any "well-
respected critics" who might have been in the house. "Don't feel you
have to be nice to us."
Although this joke was stepped on by a pocket of heckling Tull fans,
one thing was clear: In chucking "high art," Anderson freed his show of
pretension.
Besides, it's doubtful Zamfir would ever swear that much between
songs.
Rated 4 suns! (out of five)
By Kieran Grant- Toronto Sun

[TM]

Thanks guys. I look forward to reading these.

[tootull]

As previously mentioned on this thread.