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Post by JTull 007 on Apr 7, 2017 23:36:00 GMT
Listen to this... Unfortunately I can't find it on the internet, and I am speaking about Jethro Tull The String Quartets, We Used To Bach... If you have it... Compare the two tunes with each other... That's what I call, close enough for Rock 'N' Roll... but don't get me wrong... I dig that about Ian!! Spot on ! Bach's Prelude in C Major
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Post by Equus on Apr 8, 2017 20:00:29 GMT
Interesting this We Used To Bach... Is Ian saying indirectly that the song We Used To Know was inspired by Bach, and maybe even inspired by Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It seems to me that We Used To Know can, with a little imagination, be sung when listening to that particular piece of music by Johann Sebastian Bach... but that's probably just me hallucinating... but the piano in We Used To Bach sure sounds a lot like the Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It would be kind of funny if Ian was inspired by that particular tune, then wrote We Used To Know, and later that same... or much later The Eagles used, We Used To Know to write the song Hotel California... but I guess we'll never know...
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Post by Equus on Apr 8, 2017 20:29:52 GMT
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Post by bassackwards on Apr 8, 2017 22:36:16 GMT
Interesting this We Used To Bach... Is Ian saying indirectly that the song We Used To Know was inspired by Bach, and maybe even inspired by Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It seems to me that We Used To Know can, with a little imagination, be sung when listening to that particular piece of music by Johann Sebastian Bach... but that's probably just me hallucinating... but the piano in We Used To Bach sure sounds a lot like the Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It would be kind of funny if Ian was inspired by that particular tune, then wrote We Used To Know, and later that same... or much later The Eagles used, We Used To Know to write the song Hotel California... but I guess we'll never know... It might be reasonable to assume that John Evans brought something into that stew
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Post by steelmonkey on Apr 8, 2017 23:17:55 GMT
After multiple listens I find myself happy and inspired and reaching to turn up the volume on: Bungle, FOTF, Songs/Horses and Velvet Gold. This album comes up against the eternal Tull conundrum: crowd pleasers vs deep cuts. I understand it HAS TO HAVE Locomotive Breath, Aqualung and LITP to open the wallets of the non-orthodox...and it has to have Christmas songs to satisfy Ian's love of Christmas songs...but can you imagine if they went deep and gave the dissect and rebuild treatment to songs like European Legacy or Rocks on the Road or Man of Principle or Change of Horses etc etc etc......I mean...we already have semi-orchestral versions of Aqualung and LITP. Not complaining...this CD is a pleasure and a jewel and a great addition to catalog....how about CD2 for Hard core Tullies? Overseer Overture anyone? John ? Ian ?
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Post by Equus on Apr 9, 2017 7:57:48 GMT
Interesting this We Used To Bach... Is Ian saying indirectly that the song We Used To Know was inspired by Bach, and maybe even inspired by Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It seems to me that We Used To Know can, with a little imagination, be sung when listening to that particular piece of music by Johann Sebastian Bach... but that's probably just me hallucinating... but the piano in We Used To Bach sure sounds a lot like the Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier... It would be kind of funny if Ian was inspired by that particular tune, then wrote We Used To Know, and later that same... or much later The Eagles used, We Used To Know to write the song Hotel California... but I guess we'll never know... It might be reasonable to assume that John Evans brought something into that stew Very interesting, Bassackwards... and it could actually be one of the many causes of this happening... John Evans did play classical music, and probably also Bach... Does anybody know if that was the case? So if we were to go deeper into the dim and distant past... Was it John Evans mother, or maybe his teacher who introduced John Evans to the music of Johann Sebastian Bach... Interesting how these chains of causes and effects eventually create results that we are incapable of predicting... and the cause is also an effect of something... the effect becomes a cause... a never ending chain reaction... If we could trace this chain of causes and effects all the way to the beginning, we would eventually end up back at the beginning of time... Mindboggling it is... Even the beginning of time, may not represent the real beginning... Here's a little story that I treasure... about cause and effect... Cause and effect:There lived an old farmer who had worked on his fields for many, many years. One day, his horse bolted away. His neighbors dropped in to commiserate with him. "What awful luck," they tut-tutted sympathetically, to which the farmer only replied, "Maybe, maybe not."Next morning, to everyone’s surprise, the horse returned, bringing with it three other wild horses. "That's very, very lucky!" they exclaimed in excitement. The old man replied, "Maybe, maybe not." A day later, the farmer’s son tried to mount one of the wild horses. He was thrown on the ground and broke his leg. Once more, the neighbors came by to express their sympathies for this stroke of bad luck. "Maybe, maybe not," said the farmer politely. The next day, the village had some visitors – military officers who had come with the purpose of drafting young men into the army. They passed over the farmer’s son, thanks to his broken leg. The neighbors patted the farmer on his back – how lucky he was to not have his son join the army! "Maybe, maybe not" was all that the farmer said... This is why war is so unpredictable... Right now American war ships is headed for North Korea... How will this affect future cases and effects? What will happen if America doesn't attack North Korea... What will happen if they do? We live in a highly unpredictable world...
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Post by Equus on Apr 9, 2017 9:43:39 GMT
After multiple listens I find myself happy and inspired and reaching to turn up the volume on: Bungle, FOTF, Songs/Horses and Velvet Gold. This album comes up against the eternal Tull conundrum: crowd pleasers vs deep cuts. I understand it HAS TO HAVE Locomotive Breath, Aqualung and LITP to open the wallets of the non-orthodox...and it has to have Christmas songs to satisfy Ian's love of Christmas songs...but can you imagine if they went deep and gave the dissect and rebuild treatment to songs like European Legacy or Rocks on the Road or Man of Principle or Change of Horses etc etc etc......I mean...we already have semi-orchestral versions of Aqualung and LITP. Not complaining...this CD is a pleasure and a jewel and a great addition to catalog....how about CD2 for Hard core Tullies? Overseer Overture anyone? John ? Ian ? I think that Ian is wrong when he almost always includes Locomotive Breath... but then again, he is one of the great survivors... So, it's probably me that's getting it wrong... Thanks to Ian for not including Bourée this time around... and for not mentioning Starbucks, and Lemmings... I solemnly promise not to mention them again... (...am I walking on a tightrope right now?? )
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Post by Deleted on Apr 13, 2017 14:55:17 GMT
link CD REVIEW Jethro Tull: The String Quartets by Ryan Reed on April 13, 2017 Throughout the 1970s prime of progressive rock, numerous bands took a “symphonic” approach, piling instruments into ornate soundscapes. But Jethro Tull earned that label more literally: Aided by orchestral arranger Dee Palmer, mastermind Ian Anderson composed masterpiece LPs like 1971’s Aqualung and the following year’s Thick as a Brick with space for legitimate string sections. On 1975’s Minstrel in the Gallery, the orchestra is beyond decorative—as essential to the songs as the bandleader’s zig-zagging flute or Martin Barre’s thunderous electric guitar. So on first glance, the concept for Anderson’s latest Tull outing feels redundant. Why bother with String Quartets when you could savor the thrill of rock meeting full-blown orchestra? But the album proves more daring—and engrossing—than the title suggests. Collaborating with arranger John O’Hara and the Carducci Quartet, Anderson discovers new harmonic depth in straightforward compositions like “Bungle in the Jungle” and “Living in the Past.” (Eternal riff-monster “Locomotive Breath” is revamped with an opening, Bach-inspired cello cadenza.) And by reworking already complex material, like a breathtaking hybrid of “Songs From the Wood” and “Heavy Horses,” the musicians highlight the elegance of the original themes, embellishing only with minimal flourishes. Even in this “guest” setting, adding brief vocal and flute parts on select tracks, the ever-magnetic Anderson emerges as the star: With his trademark “over-blowing” flute technique in full force, “Farm on the Freeway” is transformed from a middle-of-the-road ‘80s ballad into a bone-rattling epic.
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Post by Deleted on Apr 17, 2017 12:53:07 GMT
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Post by Deleted on Apr 18, 2017 12:09:12 GMT
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Post by Deleted on Apr 19, 2017 19:22:55 GMT
PowerMetal 19.04.2017 Translated: JETHRO TULL is known to us as the band with the flute. But this album brings us twelve classics of the band in a newly arranged robe - with string quartet, as well as with front man (and producer) Ian Anderson, who contributed flute, guitar and very sporadic singing. Mostly the album is an instrumental story. First of all, this has nothing to do with rock music. Nevertheless, the disc has a very special fascination with me. After nine years at the Gymnasium, I have heard enough string quartets to feel: these songs are harmoniously adapted and pulverize all Metal-Meets-Classic stories. Just 50 minutes of relaxed music, for learning, for whistling, for evening wine or tea, this album offers us this album, which should be of interest primarily to great JETHRO TULL fans. These can definitely be lunchtime. The songs are arranged completely different and sound completely new. Even if the idea as such is not new, the whole record is somehow very innovative. The approach with flute and string quartet works, and some old hit goes quite differently in the ear. A positive, very own surprise, which clearly stands out from the flood of publications. Overall, I would have found a completely instrumental variant even more beautiful, but also, I think, Anderson and Co. is a chic gem succeeded. Play tips: Sossity Waiting, We Used To Bach, Aquafugue. Editor: Jonathan Walzer
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Post by steelmonkey on Apr 19, 2017 23:02:50 GMT
I wonder if we can interest Ian and John in a volume two where we bid on choosing the songs via charity auction or something like that. This album leaves me hungry for more of the same but with songs of less fame ( I'm a poet and I know it...not afraid to show it...hope I don't blow it).
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Post by steelmonkey on Apr 19, 2017 23:16:08 GMT
I would invest the kid's college money in, just off the top of my blabby head at the moment: European Legacy, Man of Principle and Enter the Uninvited.
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Post by maddogfagin on Apr 28, 2017 7:32:21 GMT
www.sunherald.com/Classically influenced pre-punk rock period offerings from EL&P and Jethro TullThis final April Sound Check features classically influenced pieces from beloved pre-punk period artists. First, new string quartet re-imaginings of many Jethro Tull classics; then, a voluminous documentation of Emerson Lake & Palmer’s South American shows in the 1990s. Enjoy! ‘Jethro Tull: The String Quartets,’ Ian Anderson and The Carducci Quartet (BMG Rights Management-UK-Ltd, ☆☆☆☆☆)Lately, Jethro Tull performances and recordings have been credited as “Ian Anderson’s Jethro Tull”; this recording features collaborative performances by Ian and The Carducci Quartet in various formats, with arrangements and additional material composed/orchestrated by keyboard wizard John O’Hara. Jethro Tull’s songs have always been in tune with orchestration, and now many of the songs have been tailored that way. Thus, it’s hard to pick favorite songs; this is a list of favorite moments from a very tuneful whole. “In The Past (Living In The Past),” “Bungle (In The Jungle),” “Only The Giving (Wond’ring Aloud),” “Loco (Locomotive Breath)” and others led to my overall enjoyment. This is rewarding, mostly restful listening, even for this old punk rocker. www.sunherald.com/entertainment/movies-news-reviews/article146730099.html
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Post by futureshock on May 2, 2017 6:59:19 GMT
I agree with Equus that yes, great to NOT include any Bourree. Having played flute quite some time, well, you know how that goes. Time to send that one to graze in a field for a decade. Then again, on that topic, why not attempt to replace it with another newly created and clearly influenced flute solo from another source? Bach might be an inappropriate match these days. Some flutists have done that, making a major statement by doing so, in the variations they apply and creative effect developed. If there was a Jethro Tull pub and there were drinks named by Tull song names, I'd bet Bourree would be in the bottom 5% of sales. Of course, a real Jethro Tull Bourree drink would be a German-style beer sold in a "yard of ale" 3-foot long glass that would leave you gargling and out of breath trying to finish it in 3 minutes. More of an event than a regular order. Oh damn, I've just done a suggested sell. Crap!
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Post by Equus on May 2, 2017 19:55:10 GMT
I agree with Equus that yes, great to NOT include any Bourree. Having played flute quite some time, well, you know how that goes. Time to send that one to graze in a field for a decade. Then again, on that topic, why not attempt to replace it with another newly created and clearly influenced flute solo from another source? Bach might be an inappropriate match these days. Some flutists have done that, making a major statement by doing so, in the variations they apply and creative effect developed. If there was a Jethro Tull pub and there were drinks named by Tull song names, I'd bet Bourree would be in the bottom 5% of sales. Of course, a real Jethro Tull Bourree drink would be a German-style beer sold in a "yard of ale" 3-foot long glass that would leave you gargling and out of breath trying to finish it in 3 minutes. More of an event than a regular order. Oh damn, I've just done a suggested sell. Crap! The reason for the never ending story of Bouree, is probably because Ian realizes that it is expected of him, and that people in the audience just love the tune... I love it too, but I'm a long time fan, and for me it gets a little tedious to hear it again and again... I guess it's like eating bananas, if you really love bananas, that is... but even if you really love bananas, there comes a point where it's just too much... So the way that I see it is that bananas are great, but not all of the time... Another thing is that Ian has written so many wonderful tunes that deserves to take the place of Bouree... and whenever Bouree is occupying the space on a CD, there's another tune that isn't occupying that particular space... Bouree, like the cuckoo, becomes a parasite... pushing other tunes out in the cold... and I feel the same way with Locomotive Breath...
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Post by maddogfagin on May 3, 2017 7:54:11 GMT
I agree with Equus that yes, great to NOT include any Bourree. Having played flute quite some time, well, you know how that goes. Time to send that one to graze in a field for a decade. Then again, on that topic, why not attempt to replace it with another newly created and clearly influenced flute solo from another source? Bach might be an inappropriate match these days. Some flutists have done that, making a major statement by doing so, in the variations they apply and creative effect developed. If there was a Jethro Tull pub and there were drinks named by Tull song names, I'd bet Bourree would be in the bottom 5% of sales. Of course, a real Jethro Tull Bourree drink would be a German-style beer sold in a "yard of ale" 3-foot long glass that would leave you gargling and out of breath trying to finish it in 3 minutes. More of an event than a regular order. Oh damn, I've just done a suggested sell. Crap! The reason for the never ending story of Bouree, is probably because Ian realizes that it is expected of him, and that people in the audience just love the tune... I love it too, but I'm a long time fan, and for me it gets a little tedious to hear it again and again... I guess it's like eating bananas, if you really love bananas, that is... but even if you really love bananas, there comes a point where it's just too much... So the way that I see it is that bananas are great, but not all of the time... Another thing is that Ian has written so many wonderful tunes that deserves to take the place of Bouree... and whenever Bouree is occupying the space on a CD, there's another tune that isn't occupying that particular space... Bouree, like the cuckoo, becomes a parasite... pushing other tunes out in the cold... and I feel the same way with Locomotive Breath... And from my perspective TOTRnR is also one of the songs that in reality IA should now play sparingly in concert. Not a bad song but one that has been over played down the years. Then there are songs which he should include on "greatest hits" setlists - Rocks On The Road, Budapest, Change Of Horses etc. But I digress from the theme of this thread
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Post by maddogfagin on May 3, 2017 14:51:13 GMT
Jethro Tull - We Used to Bach ( We Used to Know/ Bach Prelude C Major)
Published on 1 May 2017 by Redbaron863
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Post by Equus on May 4, 2017 5:41:04 GMT
I play the acoustic guitar, and a long, long time ago, I actually tried to play Bach prelude in C major... Not an easy thing to do, by the way... So when I heard the tune We used to Bach... at first I was a little bewildered, and immediately Mr. Equus/no $h1t Sherlock, went in search of the core of the matter... Ha, ha... (Damn this is stupid... ) Because it's right there... It was actually right in front of my eyes... on the back cover of the Jethro Tull, The String Quartets, it is written loud and clear: We Used To Bach (We used to know/Bach Prelude C Major) 4.54... Well, I just think that's funny...
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Post by Equus on May 4, 2017 5:51:34 GMT
The reason for the never ending story of Bouree, is probably because Ian realizes that it is expected of him, and that people in the audience just love the tune... I love it too, but I'm a long time fan, and for me it gets a little tedious to hear it again and again... I guess it's like eating bananas, if you really love bananas, that is... but even if you really love bananas, there comes a point where it's just too much... So the way that I see it is that bananas are great, but not all of the time... Another thing is that Ian has written so many wonderful tunes that deserves to take the place of Bouree... and whenever Bouree is occupying the space on a CD, there's another tune that isn't occupying that particular space... Bouree, like the cuckoo, becomes a parasite... pushing other tunes out in the cold... and I feel the same way with Locomotive Breath... And from my perspective TOTRnR is also one of the songs that in reality IA should now play sparingly in concert. Not a bad song but one that has been over played down the years. Then there are songs which he should include on "greatest hits" setlists - Rocks On The Road, Budapest, Change Of Horses etc. But I digress from the theme of this thread There are so many great songs that could be played, but come to think of it... Ian actualy did a very fine and coradious thing when he played the entire Thick As A Brick, and Thick As A Brick II all over the world for live audiences... more of that, please...
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Post by maddogfagin on May 12, 2017 12:54:06 GMT
www.westword.com/music/jethro-tulls-ian-anderson-is-joining-the-colorado-symphony-at-his-old-haunt-9034694Playing Colorado Isn't All Roses for Jethro Tull's Ian AndersonFRIDAY, MAY 12, 2017 AT 5:31 A.M. BY BRETT CALLWOOD Jethro Tull's Ian Anderson with the Carducci String Quartet.On May 26, English folk-rock veterans Jethro Tull will play a show with the Colorado Symphony at Red Rocks. The beloved amphitheater was, of course, the site of an infamous riot in the summer of ’71 that resulted in a cloud of tear gas, 28 serious injuries and the cancellation of the remainder of the venue's 1971 summer program. This won't be the first time that Ian Anderson and Tull have returned since then, but the ghosts remain. While Red Rocks is considered one of the best venues in the world by many bands and artists, Anderson, perhaps understandably, isn’t quite so besotted. “It's outdoors, and altitude-wise, it’s very demanding for a physical performer like me, especially one who sings and plays the flute,” the frontman says. “It’s a tough place to work. It’s in May, quite early in the year for outdoor concerts, so it’s likely to be chilly in the evening. But of course, people regard Red Rocks as one of those iconic American venues that has a certain magic about it. But I have to remember being in Denver on a couple of occasions when bad things have happened at Red Rocks arena. I have to remember every time I go there that it’s not all rosy.” It’s a shame, but not unreasonable, that Anderson doesn’t regard the venue as highly as most other performers. Still, this show with our local orchestra is likely to be something special, epic even, up in the mountains. Logistically challenging, sure. But the natural acoustics and almost-unearthly lights that bounce around the rocks will provide the perfect setting for this music, whether Anderson is feeling it or not. The singer, flautist and songwriter has been working with strings extensively of late. Indeed, the most recent Tull album is called The String Quartets, and, as one might expect from that title, it sees twelve of the band’s classic songs reinterpreted for the Carducci String Quartet and conductor John O’Hara, with Anderson adding flute, some acoustic guitar and mandolin, and very occasional vocals. That album was released in March, but don’t get confused: The record with the string quartet and the tour with the full orchestra are very different animals, and one is not connected to the other. “[The album is] a one-off stand-alone project,” Anderson says. “It’s not something that we’ll take out on tour. And yet here we are in Denver playing out with the Colorado Symphony Orchestra, playing the kind of show that we’ve played many times with orchestras around the world over the past fifteen years, which is Jethro Tull the rock band, plus the orchestra. The difference being that I try to make sure that we become members of the orchestra. We’re not asking them to step up to where we are in terms of musical volume and musical stylings. We take a step into their world. We’re all capable of doing that, and the musicians I work with in the band are used to doing this.” The latest Jethro Tull album, The String Quartets shot to the number-one spot on the Billboard classical-music charts, a stunning return for all of the work that Anderson, O’Hara and the quartet put in. Still, Anderson is realistic when considering his music's mainstream appeal. He’s well aware that these interpretations won’t appeal to every old-school Jethro Tull fan. The attraction to this current tour is a little easier to sell, though. Here, the full band is performing the old songs with the orchestra rather than fully reinterpreting them. They still need arranging, but they'll be instantly recognizable to fans. “Some of our songs are maybe a little more obvious than others in terms of orchestral arrangement,” Anderson says. “In some cases, you’ve got to keep it quite simple and direct, and in other cases we try to be a little more intelligent in our use of the orchestra with the writing and arrangements, and change things around to fit the styling of orchestral possibilities given the various musical forces that you have on hand in a symphony orchestra. Not that we use all of them. We don’t use orchestral percussion, because we have a drummer and a bass player who plays glockenspiel, nor do we go particularly heavy on brass. But, yeah, we’ve done it before, so we’re not orchestral virgins, by any means, and the Colorado Symphony is used to playing with heathens and philistines such as I.” There have been 33 members in Jethro Tull over the years, and the band has taken the occasional break. That said, the lineup has been fairly consistent for the past twelve years or so. Anderson often adds his own name to billings nowadays because, he says, he’s getting old and wants to be remembered. “When I think of Jethro Tull in the musical context, rather than the historical agricultural inventor, I’m thinking of the repertoire,” he says. “The same way that if I think of Beethoven, I’m not thinking of a bloke in a silly wig and stockings. There comes a point where the music becomes the legacy that you leave.” What is clear at this point is that, whether he’s struggling with the elements at a venue that he’s both reluctant to play but also reluctant not to, or recording with a string quartet at the ancient crypt at Worcester Cathedral in England, Anderson still likes to challenge himself artistically. On this recent album, he was keen to strip the old Tull songs down and focus on the essential elements. And while old churches present acoustic challenges, he’s attracted to the overall vibe. “I work in churches quite a lot, so in some ways it’s another day in the office for me,” he says. “I feel very different about it now to how I did when I was a teenager, when I found churches really quite scary. I don’t count myself as a Christian — I have a deep respect, and a practical and tangible support for the Christian church, but I’ll never be a Christian, because there are some fundamental aspects of Christian worship which I can’t intellectually get behind, although I still feel that I should be giving people the opportunity to weigh up what the church in its traditional sense means to them.” When this tour is over, Anderson will be thinking about the next Tull studio album of new material. He says that he’s getting close to being done and expects it to see the light of day in March of next year.
“During the next few weeks and months, I’ll be continuing to work on that, and hope to have it completed by the end of October,” he says. “The awful reality these days is we’ve got to think about bloody vinyl again. Everybody wants a vinyl version of the album. There are so few vinyl pressing plants left in the world; it’s a long production time. We’re looking at in excess of twelve weeks to sit in line to get to record press. We used to do it in a week in the old days. Now everybody wants their album released on vinyl again, but there aren’t the facilities there to do it. But that’s my problem, not yours.” Jethro Tull and the Colorado Symphony, 8 p.m. Friday, May 26, Red Rocks, 18300 West Alameda Parkway, Morrison, 720-865-2494.
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Post by steelmonkey on May 12, 2017 15:49:20 GMT
Why is it exciting just to read Ian Anderson mentioning the city I grew up in? Why? Oh...because I am an insane Tull fan? is that it ?
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Post by maddogfagin on May 13, 2017 7:45:17 GMT
iconfetch.com/SHOWS #304 – IAN ANDERSON OF JETHRO TULL – THE STRING QUARTETSMAY 12, 2017 TONY PETERS [ audio here] iconfetch.com/shows/304-ian-anderson-jethro-tull-string-quartetsOdd Fact: Ian Anderson has had a #1 album every 22 years in the US Jethro Tull has released over 30 albums in their 50-plus year history, making them a staple on rock radio all over the world, with songs like “Aqualung,” “Living in the Past,” and “Bungle in the Jungle.” The band has never been afraid to take chances, and their latest project is a perfect example. Jethro Tull – The String Quartets, is a collaboration with the Carducci String Quartet. It’s an opportunity to take many of the most recognizable tracks in the band’s catalog and present them in a classical setting. This left turn has proven quite successful, as the album has recently hit #1 on the Billboard Classical Albums chart. It’s also the first Tull album to come out exclusively through Pledge Music. We welcome back to the program Tull frontman Ian Anderson, who talks about the inspiration for this unique project, why they chose to record the album in old churches, and what to expect from an upcoming tour. Plus, Anderson talks about the latest Jethro Tull album to get the deluxe reissue treatment, Songs From the Wood.
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argentull
Journeyman
Live Detective
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Post by argentull on May 15, 2017 11:59:08 GMT
I got the album last friday and loved it. I would have discarded Loco and Aquafuge...probably IA included them to make the album more attractive to the general public. Much more interesting would have been Summerday Sands, TOTRR, Rover, just to name a few. And the vocals, except for Christmas song are painful to hear...absolutely out of tune! But it looks just like the EGO of the man is too big!
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Post by maddogfagin on May 15, 2017 12:55:41 GMT
I got the album last friday and loved it. I would have discarded Loco and Aquafuge...probably IA included them to make the album more attractive to the general public. Much more interesting would have been Summerday Sands, TOTRR, Rover, just to name a few. And the vocals, except for Christmas song are painful to hear...absolutely out of tune! But it looks just like the EGO of the man is too big! Summerday Sands and Rover would have been good on the album. My only reservation about the album is that it was released too close to the SFTW release. Perhaps a couple of extra months between the two would have allowed far more publicity and therefore more public awareness of the album.
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Post by maddogfagin on Jul 16, 2017 7:32:26 GMT
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Post by maddogfagin on Apr 22, 2018 6:11:58 GMT
interlochenpublicradio.org/post/music-request-playlist-april-21-2018Music by Request playlist for April 21, 2018By AMANDA SEWELL • 12 HOURS AGO Thanks to listeners in Cheboygan, Cadillac, Interlochen, Suttons Bay and many other places for your requests this week. . . . . . . . . 17. Ian Anderson, music of Jethro Tull; Anderson and the Carducci String Quartet
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Post by maddogfagin on Dec 22, 2020 7:46:53 GMT
theartsdesk.com/CD: Jethro Tull - The String QuartetsIs Ian Anderson's new LP faux-classical or just its own thing? by Russ Coffey Wednesday, 22 March 2017 On Jethro Tull's classic "Songs from the Wood" Ian Anderson promised "all things refined". And refined the band certain has been. Musically educated, too. For 40-odd years they have specialised in baroque rock and minstrel ballads all served up with harpsichords and flutes. There were even a couple of albums featuring a full orchestra. Yet, notably, string quartets have only made the occasional appearance. In a way, then, you could say an album like this is actually a little overdue. The thing is, though, Jethro Tull – The String Quartets isn't really a Tull album. Nor is it even really an Ian Anderson LP. For the most part, this is the sound of arranger John O'Hara and the Carducci Quartet. The results are really rather convincing. That's partly down to the source material. Jethro Tull songs often start with ersatz 16th century melodies which then progressively move towards blues rock. O'Hara, however, pulls it all the other way. "Sossity Waiting", for instance, takes the melodies of "Sossity: You're a Woman" and "Reasons for Waiting" and arranges the flute and strings to sound like the work of an early English composer. Where a heavier more syncopated sound is needed, such as on (Living) "In the Past", it's achieved using slurs up the fingerboard and heavy duty plucking. For classical purists, of course, the thought of Tull's music becoming even more faux baroque will be horrendous. But actually the album finds its most authentic voice the further it gets away from the originals. This is helped by Ian Anderson's sparing use of his own vocals. One song, in particular, illustrates why too much Anderson wasn't right. "Wond'ring Aloud" – featuring the main man on both guitar and vocals – was, no doubt, included because the original's use of strings virtually inspired the whole project. But it's not a particularly stirring version. Tull fans will be far more taken with the unexpected way O'Hara, Anderson and the Carducci Quartet have reinterpreted "Locomotive Breath". That really is something special.
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