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Post by Programme on Mar 15, 2015 0:10:32 GMT -5
It has to be difficult to having played music for such a long time under an alias (Jethro Tull) and now coming to the view that personal name recognition is more important. I guess to each his own. Personally I think the name thing is a bit funny, as Tull followers by and large know a great deal about Mr. Anderson and his accomplishments. I do love it when someone in the audience yells, Hey Jethro!).
Ian has always impressed me as a person who took music seriously. Since the 70's I've gone to every concert with the hope that I'd be hearing the best musicians playing Jethro Tull music. With only a few exceptions I've been able to go with the flow with band changes over the years, but admit to having a bit of a struggle with the current lineup and focus.
In reading between the lines of Ian's note there a sort of hopeful acceptance of what's happened with a few issues that remain. In my view Ian put a knife into Tull for some unknown reason, and there's blood on the floor. I agree with a previous comment that it doesn't appear to have been done to get away from Tull music, as concerts are still advertised as such.
I'd be interested to know if there were off stage issues with members, and that it became unworkable to go on. If so, I may be to hasty in judging Mr. Anderson. As far as listening to Tull music, I love all the back catalog. I could go to Tull concerts with the older music for many years to come. I'd also be happy to wear an Ian Anderson Rocks T shirt if that would help.
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Post by Programme on Dec 7, 2012 23:57:49 GMT -5
Got to thinking about how many more times Ian would be out on the road, and thought -- WTF -- booked a flight to Paris, Ebay ticket purchase in the blind (Thanks, Bruno), and found myself sitting in the Olympia theater on the first day watching my favorite flute player and his band. Concert start time was 7pm, but very late arriving crowd pushed it to 7:30 or so. Tripadvisor can tell you about the theater (the "loo" experience being a definite high point). The theater is beautiful, and I was lucky to be in the first balcony a few seats away from the sound board looking down on the stage. I'm not sure what I expected Paris Tull fans would be like, but they were both appreciative and big buyers of T-Shirts. The sound from Mikey Downs was unbelievably rich in dynamics and volume -- probably the best I've heard. I don't believe that Ian was feeling as well as he could -- so the set was very prescriptive. Duncan on drums was impressive. As I walked through the streets of Paris back to my hotel after the concert I was aware of some sadness about the night. I've always admired Ian's music for the complexity and variety, and the often sheer difficulty of playing the content during extended tours. It was clear tonight that he was tired, and being out there as Ian Anderson, he has to carry the entirety of the work. Tonight it was Michael Downs who helped Ian get through the night, and for that Mr. Downs deserved a big thanks. If you attended the Paris show and were disappointed a bit, it wasn't the best of nights. But sometimes just getting to the end of the set is an accomplishment of major proportions. And this night was. Attachments:
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Post by Programme on Oct 25, 2012 0:03:27 GMT -5
A short note about last night’s concert. Wonderful venue. Not sold out. Maybe price is becoming an issue. 20:03 start with “stage hands” dressed in costume, then entirety of Thick as a Brick (with Ian opening on acoustic guitar at stage left -- first time I've seen this), the interval, Thick as a Brick 2, with Locomotive Breath as the encore. 2:20 in length. This was different from past Tull and Anderson shows. The extended sets removed the customary Anderson banter between songs, and the musical experience, with interrupts and video, evoked memories of earlier Tull theater in the original TAAB from decades ago. The Anna Phoebe Skype moment was well placed – allowing both audience and band to pause within the lengthy and well-recognized first set. The PSA test with Tom and audience volunteer was also very entertaining. My concerns that listening to the entirety of the piece (in particular the initial part of the second side of the LP for anyone who ever turned the disk over on their turntable) might prove a bit difficult to stay with, as a considerable portion with “poet and painter” has been played in recent years on tours, weren’t recognized. The latter half came alive with the musical and acting performances given. The first set was well played and orchestrated. The live presentation of TAAB2 last night, in my opinion, exceeded that on the recording, with substantial musical emphasis capturing the tone and tempo connections between TAAB and TAAB2 – perhaps enhanced by the players’ own connection to the TAAB2 music itself. TAAB2 provided an unanticipated continuation of an exquisite musical journey in transitioning from the first set to the second right from the start. Hopefully many pieces (Strut, Change, Mulberry) will be retained for future concerts. Lastly, a comment on the encore. It was gracious of the band to offer up LB. While musically disconnected in an almost “don’t tell anyone we did this” sort of way, Ian created a cohesive moment for fans to celebrate with the perfect ending to a rich musical experience, and thanks to him, we got to sing along with a man of extraordinary musical talent and thought. Last night Ian was gracious in leading his band members and support staff in a hugely complex musical effort. Like all concerts, this ended too soon, but was an immensely satisfying musical experience. With some new theatrics, staging, and vocal help, I left wondering if we were watching a new beginning of sorts for Ian? One can hope.
As I grow older I've realized the importance of relationships, how they change, and the flexibility of allowing people to make choices that best fit their current situation. While I can praise Florian and the others for their remarkable support of the music, I hope for the eventual return of the others who also own the music. Last night I would have enjoyed Florian and Martin playing off each other, for example.
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TAAB2
Apr 14, 2012 0:09:36 GMT -5
Post by Programme on Apr 14, 2012 0:09:36 GMT -5
My first listen through TAAB2 left me wondering what this compilation represented, perhaps another Nightcap with new players. It seemed to lack musical theme like TAAB1. I thought the Divergence section lived up to its name with many unrelated pieces of differing musical texture that seemed experimental and musically immature for Ian's standards. I'm currently listening to A Change of Horses. This piece, for me, is one of Ian's most compelling compositions, and alone makes TAAB2 a must have album. In time I'll explore the remaining tracks, and expect to begin to enjoy more of the compositions when I do. I'm clearly aware that this is not Martin's guitar work, and find that I focus on his not being there, rather than listen to what is there.
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Post by Programme on Dec 18, 2011 21:06:35 GMT -5
I started writing this on the flight back to Denver the morning after the Chicago concert. Figured better late than never. After the show I walked around downtown Chicago. I was thinking of the effort required to play near the end of a tour, gathering one’s collective wits to stay focused and committed to the performance. As I watched Martin play that night I couldn’t help but think that he is as good a rock guitarist as anyone in the business. During parts of Mary and Aqualung he moved like he was gliding on air – keeping time with his left foot, keeping the beat with his strumming right hand, and running the fretboard with his left. Note-for-note perfect. He is a delight to listen to. I don’t know how Ian manages guitar and flute changes, microphone switches, capo placement and earphone in/out moves during and between songs while still maintaining his recollection of words, notes, runs, riffs, and improvisation – along with leading the band on stage. And I don’t know how it is for Ian given the thousands of times he’s played Aqualung in 40 years, but each time I hear the piece live, I experience overwhelming emotion and a feeling of intense pleasure. His flute was so good in Chicago that I had tears streaming down my face. I had a seat in the mezzanine level, above the floor but underneath the balcony. It felt private, but musically separated due to most sound coming a series of smaller speakers placed above the seats. The sound was mostly mid-to-high frequency. Ian’s playing was dominant, and I was mostly focused on Doane’s drumming. He was superb. Chicago had the same two part concert set list as previous nights, with Goose noteworthy in the first set, and an electrifying Mary being the standout in the second. A small fortune got me a last minute ticket, flights, and downtown Chicago hotel -- worth every cent for another chance to hear “Sitting on a Park Bench…”. Attachments:
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Post by Programme on Jun 9, 2011 12:51:46 GMT -5
Jethro Tull featuring Martin Barre
My impressions of the concert were influenced from being seated in the 3rd row, seat 25, in front of Martin and the Red Rocks PA speaker tower. Tull over the past years (at least according to Mikey behind the sound board) have turned down the volume as a kindness to the aging audience, and judging at the difficulty of many to walk from the parking lot to the venue, the years for many have been cruel. That said, it was a packed house, a breezy night, and I was treated to some of the best Jethro Tull music at full volume that I can recall.
Ian changed up the typical set list, preferring to put power into the early pieces. Brick, Farm (that I mistakenly thought started out as Budapest), Songs From, and Bouree set the stage for what was to come. Ian managed to put a transatlantic flight into the past few days, but seemed strong. Martin impressed right out of the gate. He was last to take the stage, and stood front and center most of the night in a way that I hadn't previously seen. I had read on this board that Martin had a particular view of Tull, but last night he owned the music. Aqualung and Cross Eyed Mary were played next, and I had it at full volume where I was sitting. It was at this point that I wished I had future tickets to this tour. Martin was fabulous.
On my set list I have Cheap Day Return, Mother Goose, Wondering Aloud, and Up to Me played next, with Doane on drums up at the face of the stage with Ian and Martin. Martin was clearly enjoying chatting up Doane, who was resplendent in purple and black with a very nice ball cap.
The singular piece for me last night was played next: My God. It opened in a slightly lower key than on the album, and Martin just ripped into the opening electric guitar part following Ian's lead. Since Ian's voice always gets the majority of the criticism, I'll say that on this song Ian's voice had a sweetness in his vocal range that I thought was permanently gone. Martin changed up some of the string melodies within the piece, and it was just wonderful to listen to.
Hymn 43 had Martin on a mandolin, and Slipstream ended with the players walking off a dark stage. This pause, and then return of the band shortly thereafter eliminated that time in the concert of extended applause and foot stomping to create the requisite encore. It was a little confusing at first, but then everyone caught on to what was happening.
Tull returned with the opening of Locomotive (Love the opening keyboard, but it's aways accompanied by some sadness that the night is nearing an end). This was played per the album with power, but with a few bars of Teacher inserted into the middle. As Ian walked back into the spotlight I was wondering if he was going to sing a few lines from that song, but he didn't. They ended, took their bows, and then it was over. I was watching Martin, and he seemed very pleased with his performance. He was magnificent.
Some general impressions:
With Kansas as the opening act I assumed that it was going to be a 1 set Tull concert. The songs and order of songs described here may change through the rest of the tour if Ian inserts an interval.
I'm guessing that Ian is using more recorded backup segments that are played along with the songs. There were some timing issues last night that will probably get worked out in time, but it left me wondering how much of this backup is being used.
I greatly appreciated being surrounded by hard core Tull fans. What a treat. This is a hard core Tull song set, and it was all business last night -- sitting on a park bench-- at Red Rocks.
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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 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 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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