www.requiemweb.com.ar/destacado.php?id=68015 de Marzo de 2013
IAN ANDERSON – Teatro Gran Rex (Domingo 10 De Marzo de 2013)
LA LEYENDA DEL JUGLAR Y SU FLAUTA MÁGICA.
por Crónica: Hernán Franco / Fotos: Fernando Serani
"THE LEGEND OF minstrel and his magic flute.
by Chronicle: Hernán Franco / Photo: Fernando Serani
Under the guise of Ian Anderson's Jethro Tull, the charismatic leader of one of the most emblematic bands of progressive rock, presented again in Buenos Aires, exhausting locations Teatro Gran Rex, to delight us with the interpretation full of 'Thick As A Brick ', on the 40th anniversary of the classic.
There are few bands that have been devoted to this point at least one tour in its entirety to commemorate one of their most iconic albums, in what has become a trend that threatens not stop, at least in the short term.
The main point of analysis to provide real dimension of what leads to a certain band to use their legacy, we must now look the same. How about honesty and willingness to 'honor' the material and actually offer it, because there also, to new generations who have not had access to that material live, and all that is in search of a graceful exit before the material poverty provided herein, are the questions to be addressed.
In regard to Ian Anderson, the charm that surrounds this tour is the fact that the Scottish bard not only hit the road with one of his masterpieces to costs, a situation which in itself would guarantee success, but the trigger of it, was the release of 'Thick as a Brick 2', a work of impressive results published a year ago by Ian Anderson but solo, step on the product which is currently Jethro Tull, caused, apparently for the rift between Ian Anderson and Martin Barre, guitarist to accompany him in the band mother since time immemorial.
Just a few minutes past 20.00 pm, characterized as petty, while purporting to clean and arrange the instruments, the musicians were putting one by one in their places, until at stage right, a few meters from where I was located , featuring the great Ian Anderson, acoustic in hand, to offer the first lines of one of his masterpieces.
The sound was great from the first to the last moment of the show, allowing us to glimpse the sound of each instrument, every detail, and every arrangement, perfectly, promotes an even more exquisite frame.
Buoyed by a band of notable musicians, among them especially the young Ryan O'Donnell, who not only took care of seconding Ian Anderson on vocals, but also to showcase their histrionic talents during the staging of the subjects during nearly two hours, the brilliant Scottish piper provided a memorable show, surrendered before a packed house at the foot of one of the most talented musicians that music has any concept
The first part of the show was devoted to the interpretation of 'Thick as a Brick', imperishable masterpiece of progressive rock, a piece of more than 40 minutes in length, (originally divided into two parts by the vinyl edition), which charm lies in its consistency maintaining its length despite without attention decay at any time, wherein each musician took place for personal brilliance, especially during the instrumental sections where some of the sole, such as the battery by Scott Hammond, who has his place by little into the second part, are extended.
During the presentation emphasized not only musically and progressive spirit of the work, but also put special emphasis on the visual, not avoid humor and parodic touches through dramatic performances and images emanating from the screen video.
Listening melodies and passages that enclose a job as 'Thick As A Brick', one understands because criticism has always been hard to pigeonhole a band like Jethro Tull within the musical context. It is always difficult to describe the intricacies of a work you stroll from folk to progressive, from acoustic to heavy, provided with a sense of humor unusual in conceptual works, such as in those published by some of his peers tended to be more dramatic and deep, (itself, 'Thick As A Brick' arose at the time as a satire to them), and last but not least, by an instrument duly decked unusual like a Magic Flute Ian Anderson achieves astonishing that hypnotize Pied Piper, leading us to follow each of their steps, their choreography, or die 'by the four' is a trademark of the house as the horns of Dio, or standing in the eternal Steve Harris return, are emblematic images of the rock world that are worth a thousand words.
Unfortunately, over time, coupled with difficulties encountered by Ian Anderson on his vocal cords in recent years have led to a decline in its flow vowel why Ryan O'Donnell takes care of the most demanding, achieving at times an astonishing blend with Anderson's voice of young years, gaining prominence as the old minstrel including Scottish, to whom he was more focused on his flute and acoustic guitar.
After an interval of about 15 minutes, began the second part of the show, dedicated to "Thick As A Brick 2 '.
At the time, the output of this second installment not only generated many expectations, but also controversy, doubting what Anderson was able to offer 40 years after the first delivery. But if there is something you learn over the years is not to underestimate the talented musicians, because you never know when you may injure to surprise us again, and the teacher came out with dignified work, without going to the majestic heights of the first part, not at odds at all, with passages of highest quality that are enhanced in vivo.
As proof of the value of the material, we could enjoy the likes of pearls 'Old School Song' with hammond protagonist, 'Wootton Bassett Town' with all his baggage and dark environment, the extensive 'A Change Of Horses', with purely progressive structure, 'Swing it Far', or my favorite 'Kismet In Suburbia'. Another area of note is 'Banker Bets, Banker Wins', one of the most hard rock, dominated force Florian Ophale guitar.
As in the first installment, despite being divided into seventeen parts, this sequel has a similar structure with recurring melodies like 'leitmotif' throughout the whole work, but varying in intensity according to the time of reflecting history, characteristic of such compositions, and personally is one of the most enjoyable features within the conceptual pieces.
As for the concept, this second part is basically centered on the question of what happened to Gerald Bostock life, speculating on the various uses that may have had one child prodigy poet protagonist of the first delivery, (who at the time was about 8 years, and now, would be around 50 years) posing several alternatives, such as, a future as homeless, as British soldier, as a banker, as a preacher, or seller.
Bostock's role is taken by O'Donnell, not only from the vocals, but also from the visual, assuming different roles depending on the occasion, such as during a performance of 'Give It Hurts Hill' which appeared characterized as a priest . In this second part, who also manages a greater role, is the guitarist Florian Ophale, who are encouraged to take the stage in front of their own, probably emboldened by the fact that he who was in charge of recording the violas on the disk, Unlike the first part, which has to wear the shoes as a hero Martin Barre.
To close, the piano intro by John O'Hara, was the sign that it was the turn of another classic, nothing more and nothing less than 'Locomotive Breath' belonging to another of the essential works of the record of such as Jethro Tull 'Aqualung', with Ian Anderson on flute again plethoric.
After the show, Ian Anderson himself through prerecorded images that could be displayed on the screen, was in charge of presenting bassist David Goodier (who with his white hair reminded today of Jimmy Page) and keyboardist John O'Hara, who knew be co-Anderson in Jethro Tull, Florian Ophale guitarist, drummer Scott Hammond, and vocalist Ryan O'Donnell, who became the revelation of the evening, why was one of the most applauded, passing each them forward to receive the heat from the public, to conclude presenting himself and feeling for the last time on the night the popular clamor applauded respectable standing to redden the palms.
Apart from some wear logic in his throat, as both the deployment stage interventions Ian Anderson on flute and acoustic guitar, are still worthy of admiration, showing the entire life of a musician who after all these years, walking with total mastery talent onstage, and luckily, we were able to witness it again.
Hernán Franco."
I'm sure there must be a better trnalation tool than Google, but you get the gist.