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Post by nonrabbit on Nov 2, 2010 18:32:49 GMT
nice interview with Ian and nice pic addictedtovinyl.com/blog/2010/10/26/pop-quiz-qa-ian-anderson-of-jethro-tull/Last question. I’m from Cleveland, so I suppose this question is inevitable: how come Tull has never been nominated for the Rock and Roll Hall of Fame and do you even care at this point?A: "I’ve been to the Rock and Roll Hall of Fame and Museum. They have items of ours for their exhibits, but as to being inducted…? Erm, I think it is very much an American institution and it should be devoted primarily to American artists—or those from other countries that have been influenced by American music and made it their own. I think for certain bands where the origins have really little to do with the USA, I don’t see it. There are many unsung heroes of the American music scene who belong there long before the ol’ Jethro Tull guy does. Is Captain Beefheart in there?"
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Post by Deleted on Nov 4, 2010 23:03:46 GMT
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Post by Deleted on Nov 11, 2010 17:06:26 GMT
>> ONLY IAN ANDERSON/JETHRO TULL COULD'VE MADE THE FLUTE A ROCK STAPLE. fredericksburg.com/News/FLS/2010/112010/11112010/587305HE PLAYS VIRGINIA NOV. 14, 15. Legendary musician Ian Anderson of Jethro Tull plays two shows in Virginia Date published: 11/11/2010 By JESSE SCOTT FOR THE FREE LANCE-STAR Ian Anderson is half musical genius, half meticulous elitist. Off the stage, the legendary Jethro Tull flautist/lead singer steers clear of rock music, doesn't enjoy being asked about when a new Jethro Tull album will be released, and spends the bulk of his time at his U.K. office. On the stage, none of Anderson's eccentric hoopla matters. And really, it shouldn't. For more than 40 years, the British legend has effortlessly made the flute cool--and has sold nearly 60 million vinyl records, eight-tracks, and CDs along the way. Anderson will play the National in Richmond on Sunday, and the Birchmere in Alexandria on Monday. How has this success happened? "In reality, I don't know exactly how," Anderson said in a phone interview from the United Kingdom. "I would like to think that in the period of 42 years, we've managed to stay outside the mainstream of rock music, while keeping afoot and being accessible and not too difficult to listen to. "It's all about being different, but not too different." Jethro Tull's sound is indeed different. The way Anderson seamlessly weaves flute elements and deeply intellectual lyrics to a full electric backdrop has yet to be replicated in modern music. Jethro Tull has released 25 albums over the years--most of which Anderson will pull from on his current tour. The first half of the show will primarily be acoustic before he rips into an electric storm during the homestretch. The show "is one that embodies 80 percent of Jethro Tull music, but not necessarily all of the best-known songs," said Anderson. "An Ian Anderson show goes a little deeper and wider into the Jethro Tull cataloge. "It's a fairly eclectic mix." For this tour, Anderson has opted for a handful of intimate venues in hopes that the focus will be less on atmosphere and more on the music itself. "We like to keep the riffraff out," said Anderson. "We hope the folks who get loud and drunk will stay at home and watch football." And as for that new Jethro Tull album? Don't count on it anytime soon.
"Every time I get that question, it's like I wiggle on the end of a hook," Anderson said with a laugh. "There are pretty complex reasons as to why we haven't done it I'll continue to follow my creative instincts.
"I'm not writing to please other people."What: Ian Anderson When and where: Sunday, Nov. 14, 8 p.m. at The National, Richmond. $42.25-$59.25. Info: 804/612-1900; thenational va.com Monday, Nov. 15, 7:30 p.m. The Birchmere , 3701 Mount Vernon Ave., Alexandria. $79.50. 703/549-7500; birchmere.com Info: j-tull.com Jethro Tull's Ian Anderson to play The Nationalwww2.timesdispatch.com/entertainment/2010/nov/11/w-ande11-ar-645214/By BY HAYS DAVIS | SPECIAL CORRESPONDENT Published: November 11, 2010 During a particularly fanciful period for rock'n'roll in the 1970s, Ian Anderson and his band Jethro Tull decided to take the label "progressive rock" to its extreme and release an album containing one song spread over two sides. Defying all expectations, "Thick as a Brick" went to No. 1, as did its follow-up, 1973's similarly structured "A Passion Play." Anderson, who will perform at The National on Sunday, is proud of these period pieces -- just don't call them "prog." "Progressive rock" in its lowercase is fine," said Anderson, 63, speaking from his home in the United Kingdom. "It's when you get to that term 'prog rock,' which was a rather sort of historical and over-the-top moment back in the early'70s. That's somewhat different, and liable to abuse and to a certain amount of mockery." After forming in 1967, Jethro Tull (hastily named after the English agriculturist in time for a club date) began as a grittier blues-influenced band, although its sound evolved considerably during the next few years. The 1971 album "Aqualung" brought the band international recognition, with the title track and "Locomotive Breath" remaining a constant in its live sets. The grand concept of 1972's "Thick as a Brick" was intended to poke fun at then-popular prog-rock bands, although the satirical intent ended up being overshadowed by the record's popularity. During the next two decades, Jethro Tull continued its musical growth, with its lineup shifting as the band updated its sound. For Anderson, the band's singer/songwriter/flutist and sole constant, the band's assimilation of various music forms was a natural process. "It's a mixture of folk music, of music from different countries, different parts of the world: jazz, blues, classical music. And broadly, within the framework of acoustic rock, which perhaps gives, in itself, the best definition of what Jethro Tull has been called, mostly in Europe . . . a folk-rock band." With no immediate plans ahead for Jethro Tull, Anderson is taking time to perform some solo shows with his own band, a venture he thinks allows him more freedom to consider some surprises that might be difficult with a Tull show. "We're always working on new things, even during the course of a tour, that might be little changes in arrangements and new ideas that pop in. "That's part of the fun of being a musician. It doesn't have to be the same every night. It's not like doing 'Hamlet'; it's more like doing an omelet. You can toss in a few things you didn't put in the last one." Tull news posts = giving back to the band that has given me the music that I enjoy the most. Cheers! ...wish good luck...make the clasp
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Post by maddogfagin on Nov 11, 2010 17:25:03 GMT
And as for that new Jethro Tull album? Don't count on it anytime soon. "Every time I get that question, it's like I wiggle on the end of a hook," Anderson said with a laugh. "There are pretty complex reasons as to why we haven't done it I'll continue to follow my creative instincts. "I'm not writing to please other people." Rather get the impression he's really p155ed off with the established record companies, especially EMI who bought Chrysalis. And as EMI have just lost Queen and their back catalogue, it makes you wonder if he regrets the Chrysalis sale. But there again, he could always form his own company as Fairport and others have done and cut out the middle man. Salamander Records anyone?
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Post by maddogfagin on Nov 12, 2010 17:12:45 GMT
According to sources close to the band "Apparently they've been rehearsing 6 new songs, but haven't played them all - yet"
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Post by Deleted on Nov 15, 2010 21:33:04 GMT
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Post by Deleted on Nov 16, 2010 19:09:18 GMT
blogs.creativeloafing.com/dailyloaf/2010/11/16/an-evening-with-ian-anderson-at-ruth-eckerd-hall/Concert review: An Evening with Ian Anderson at Ruth Eckerd Hall, Clearwater (with setlist)November 16, 2010 at 12:19 pm by Gabe Echazabal (The DAILY LOAF) "It’s quite amazing to think about, especially in this day and age of technological advances and progress, that a middle-aged man playing a flute and singing tales of ancient folklore can evoke such a passionate, fevered response from a paying audience. So is the case of Ian Anderson, lead singer, flautist, multi-instrumentalist and oracle of the madrigal/folk-rock band Jethro Tull. Anderson made a rare solo appearance at Clearwater’s Ruth Eckerd Hall last Thursday night and many loud Tull fans came out in droves to hear the quizzical and charismatic front man sing and tell his own brand of stories and anecdotes. Jethro Tull, formed in England in the late 1960s, has had a strong hold over a very loyal and dedicated fan base ever since their 1968 debut album This Was. Mixing blues rock with a more prog-rock sound and throwing in a bit of avant-jazz, Tull’s sound was as unusual as it was fascinating. Not completely heavy metal or folk, but somewhere in between those two genres, Jethro Tull continued to intrigue and elate its audience well into the ’70s with now-classic albums such as 1971’s Aqualung and its follow up Thick As A Brick. It’s been said that once a Jethro Tull fan, always a Jethro Tull fan and Thursday night’s vocal and appreciative crowd certainly helped to uphold that mantra. Starting promptly at 8:05, this event billed as “An Evening with Jethro Tull’s Ian Anderson” had the makings of a very long night. After all, a large chunk of Tull’s catalog consists of very, very long songs and suites. As one of the bands within the prog-rock genre who saw no danger in committing an entire album side to a single song (along with Yes and Emerson, Lake and Palmer), Jethro Tull are no strangers to lengthy, twisted, complicated and intricate pieces of music. And, as expected, Anderson scored the biggest and most passionate responses from his audience when he delved into the title tracks of the afore-mentioned ’70s signature pieces although those were saved for the end of the night. The night was divided into two sets separated by a brief intermission. Anderson’s charm and personality were the real highlight of the evening though. Each of the night’s selections were preceded by lengthy spoken intros that amused and entertained the crowd. Anderson spoke in a tone similar to a overzealous seer or circus barker which added more color and enthusiasm to each story he recounted. Whether speaking of his farms in England, his wife or his love of classical music (and Bach in particular), Anderson successfully displayed his craft he’s so carefully honed for the better part of four decades as a musician and performer. The evening relied heavily on Jethro Tull material with very few selections being chosen from the solo recordings Anderson has released throughout the years. Except for “In The Grip Of Stronger Stuff” and a tune that was so new, it hadn’t even been titled yet, the nights setlist consisted mostly of Jethro Tull material. Some obscurities (”Up To Me”, “Nursie”) and some more well-known tunes (”Life’s A Long Song”, “Budapest”) helped to balance out the evening’s selections and ultimately pleased everyone in attendance from the casual fans to the die-hard ones. Careful to surround himself with stellar musicians, Anderson is currently supported by an amazing band on this tour as a solo artist. Bassist David Goodier, Keyboardist and accordion player John O’Hara and drummer Scott Hammond were obviously hand-picked by Anderson. All three band members showed an incredible amount of expertise, versatility and sheer talent. This is not a band of slouches; I’d have to guess that these men are all classically trained and bred. Their musicianship is as unparalleled as it is jaw-dropping. And speaking of jaws dropping, lead guitarist Florian Ophale, the youngster of the band (his bio lists him as born in 1983; well after the heyday of Jethro Tull had come and gone), was the real show-stopper of the evening. The young phenom effortlessly shifted from intricate Tull tunes to a spotlight solo of flamenco style playing on acoustic guitar to a red hot electric reading of Bach’s “Prelude in C Minor”. Understandably, the reaction Ophale received throughout the night was deafening. The evening ended with yet another Jethro Tull classic, “Locomotive Breath.” And, again, the unlikely yet undeniable allure and magnetism of Jethro Tull, and more specifically of Ian Anderson, was more than obvious to the mostly middle-aged audience. I suppose as long as there’s a demand for an enchanting, engaging, story-telling rock ‘n’ roll flute player, Anderson will continue to write, record and release his own brand of jazz-influenced folk rock and a willing audience will be there to cheer him on." Set List: Life’s A Long Song Up To Me Nursie In The Grip Of Stonger Stuff Set Aside Hare In The Wine Cup Wond’ring Again Adantino Adrift and Dumbfounded Hare That Lost His Spectacles Bach Prelude In C Minor -intermission- Bouree new song-as yet untitled Thick As A Brick jam/solos A Change Of Horses Budapest Aqualung encore: Locomotive Breath >>Do you still see me even here?<<
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Post by maddogfagin on Nov 17, 2010 8:50:49 GMT
blogs.creativeloafing.com/dailyloaf/2010/11/16/an-evening-with-ian-anderson-at-ruth-eckerd-hall/Concert review: An Evening with Ian Anderson at Ruth Eckerd Hall, Clearwater (with setlist)November 16, 2010 at 12:19 pm by Gabe Echazabal (The DAILY LOAF) "It’s quite amazing to think about, especially in this day and age of technological advances and progress, that a middle-aged man playing a flute and singing tales of ancient folklore can evoke such a passionate, fevered response from a paying audience. So is the case of Ian Anderson, lead singer, flautist, multi-instrumentalist and oracle of the madrigal/folk-rock band Jethro Tull. Anderson made a rare solo appearance at Clearwater’s Ruth Eckerd Hall last Thursday night and many loud Tull fans came out in droves to hear the quizzical and charismatic front man sing and tell his own brand of stories and anecdotes. Jethro Tull, formed in England in the late 1960s, has had a strong hold over a very loyal and dedicated fan base ever since their 1968 debut album This Was. Mixing blues rock with a more prog-rock sound and throwing in a bit of avant-jazz, Tull’s sound was as unusual as it was fascinating. Not completely heavy metal or folk, but somewhere in between those two genres, Jethro Tull continued to intrigue and elate its audience well into the ’70s with now-classic albums such as 1971’s Aqualung and its follow up Thick As A Brick. It’s been said that once a Jethro Tull fan, always a Jethro Tull fan and Thursday night’s vocal and appreciative crowd certainly helped to uphold that mantra. Starting promptly at 8:05, this event billed as “An Evening with Jethro Tull’s Ian Anderson” had the makings of a very long night. After all, a large chunk of Tull’s catalog consists of very, very long songs and suites. As one of the bands within the prog-rock genre who saw no danger in committing an entire album side to a single song (along with Yes and Emerson, Lake and Palmer), Jethro Tull are no strangers to lengthy, twisted, complicated and intricate pieces of music. And, as expected, Anderson scored the biggest and most passionate responses from his audience when he delved into the title tracks of the afore-mentioned ’70s signature pieces although those were saved for the end of the night. The night was divided into two sets separated by a brief intermission. Anderson’s charm and personality were the real highlight of the evening though. Each of the night’s selections were preceded by lengthy spoken intros that amused and entertained the crowd. Anderson spoke in a tone similar to a overzealous seer or circus barker which added more color and enthusiasm to each story he recounted. Whether speaking of his farms in England, his wife or his love of classical music (and Bach in particular), Anderson successfully displayed his craft he’s so carefully honed for the better part of four decades as a musician and performer. The evening relied heavily on Jethro Tull material with very few selections being chosen from the solo recordings Anderson has released throughout the years. Except for “In The Grip Of Stronger Stuff” and a tune that was so new, it hadn’t even been titled yet, the nights setlist consisted mostly of Jethro Tull material. Some obscurities (”Up To Me”, “Nursie”) and some more well-known tunes (”Life’s A Long Song”, “Budapest”) helped to balance out the evening’s selections and ultimately pleased everyone in attendance from the casual fans to the die-hard ones. Careful to surround himself with stellar musicians, Anderson is currently supported by an amazing band on this tour as a solo artist. Bassist David Goodier, Keyboardist and accordion player John O’Hara and drummer Scott Hammond were obviously hand-picked by Anderson. All three band members showed an incredible amount of expertise, versatility and sheer talent. This is not a band of slouches; I’d have to guess that these men are all classically trained and bred. Their musicianship is as unparalleled as it is jaw-dropping. And speaking of jaws dropping, lead guitarist Florian Ophale, the youngster of the band (his bio lists him as born in 1983; well after the heyday of Jethro Tull had come and gone), was the real show-stopper of the evening. The young phenom effortlessly shifted from intricate Tull tunes to a spotlight solo of flamenco style playing on acoustic guitar to a red hot electric reading of Bach’s “Prelude in C Minor”. Understandably, the reaction Ophale received throughout the night was deafening. The evening ended with yet another Jethro Tull classic, “Locomotive Breath.” And, again, the unlikely yet undeniable allure and magnetism of Jethro Tull, and more specifically of Ian Anderson, was more than obvious to the mostly middle-aged audience. I suppose as long as there’s a demand for an enchanting, engaging, story-telling rock ‘n’ roll flute player, Anderson will continue to write, record and release his own brand of jazz-influenced folk rock and a willing audience will be there to cheer him on." Good find Sir. Quite possibly a contender for the best review this year.
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Post by Deleted on Nov 19, 2010 14:05:36 GMT
Jethro Tull's Ian Anderson finds a way around vocal problems at Calvin Theatre in Northamptonblog.masslive.com/playback/2010/11/jethro_tulls_ian_anderson_find.htmlPublished: Friday, November 19, 2010, 12:59 AM Updated: Friday, November 19, 2010, 1:08 AM Kevin O'Hare, The Republican NORTHAMPTON – Ian Anderson’s voice is shaky - to put it kindly - and his best music is hopelessly out of fashion. But you’d never know it by judging the reaction of his fans at the Calvin Theatre Thursday. Jethro Tull’s lead singer, flutist, guitarist and founding father is out on the road on a solo tour primarily showcasing the music that he made with his classically-tailored prog-rock band 30 to 40 years ago. Backed by a four-piece ensemble, Anderson played nearly 20 songs during two sets that totaled a shade more than two hours before a crowd of approximately 1,000 devotees. The show included some reinventions of Jethro Tull’s most famous works as well as a handful of obscurities along the way. It was a rare Western Mass. performance for Anderson, who was a relatively familiar face here in the 1970s, as Tull turned in several unforgettable performances at The Springfield Civic Center and other spots in the region. The band’s main man is 63 now and the only major hurdle he’s had to overcome as a performer are the lingering vocal problems that have haunted him for most of the past two decades. With the current show, Anderson has nearly found a way around the issue, thanks to some revisionist arrangements that put more emphasis on his flute playing, animated stage presence and colorful storytelling than they do on his very real vocal limitations. The first set was particularly entertaining. Opening appropriately with 1971’s “Life’s a Long Song,” he dug out some tasty nuggets from the past, including “Up to Me,” an often overlooked gem from the “Aqualung” album; “Nursie,” which he movingly dedicated to his brother’s partner, who passed away the night before; and “Wond’ring Again,” which he introduced by referring to its lyrical complaints, saying “I’m just a miserable old (expletive)…But I’m not as miserable as (Pink Floyd’s) Roger Waters.” It was one of the many very amusing comments Anderson made during the night, including his mischievous reference to Tull’s former bassist Dave Pegg’s penchant for alcohol, which he used as set-up prior to the Celtic-styled flute instrumental “In the Grip of Stronger Stuff.” Several of the non-Jethro Tull songs fell flat, notably the relatively new “Hare in the Wine Cup” which was a definite yawner. But speaking of hares, Anderson pulled out a wonderfully weird obscurity when he read – with musical accompaniment – “The Hare Who Lost His Spectacles” from Tull’s “Passion Play” album. That was followed by lovely flute and piano-sparked takes of Bach’s “Prelude in C Minor” and “Bouree,” the latter which Anderson has been playing for 40 years. The second set was far less successful. Because it was as Anderson said, “louder,” it also forced him to stretch more vocally and that really marred a couple of his classic works, including an edited take of “Thick as a Brick,” and Tull’s signature song “Aqualung.” He really re-arranged the latter to focus a lot more on instrumental flavors but when he could not come near hitting the right notes vocally it was sad to see, sort of like watching a once-great baseball player well past his prime, struggling to get balls out of the infield. Nevertheless, musically, his flute work was as brilliant and groundbreaking as ever, and he also let his band share the spotlight, especially guitarist Florian Opahle, whose flamenco style in “Adantino,” and his loud “tight trousers version” (Anderson’s description) of Bach’s “Toccata and Fugue” drew crowd raves. Still he’s no match for Anderson’s longtime Tull bandmate Martin Barre, who is absent from the tour. It’s strange seeing Anderson without Barre and frankly, since Anderson is avoiding most of his own solo material in favor of devoting most of this tour to Tull songs it’s worth wondering why he just doesn’t add Barre and call this a Jethro Tull show. After “Aqualung,” the group returned to encore with one of Tull’s biggest radio hits, “Locomotive Breath,” which started with acoustic instrumentation before giving way to full-blown electric treatment. All this time, it had been quite plain to hare that the others knew nothing about spectacles.
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Post by aqualung on Nov 19, 2010 14:07:40 GMT
Anyone see IA in Northampton, MA last night? I took my son, was about 8 rows back.
It was held at the Calvin theater, decent venue, little frayed around the edges. JFYI, if you ever go there, they didn't check for cameras, etc. In fact, at the beginning of the show, the announcer specifically asked everyone to refrain from 'flash' photography. Hmmm, I wonder if that meant I could have brought my DSLR w/ fast lenses and not used flash...probably not.
The set list was identical to what's been posted, e.g. Clearwater. Only difference was that Ian dedicated Nursie to his brother's partner of 50 years, Jim Hastings (?) who had passed away the day before.
Overall, I was pleased w/ the show, although I didn't care for the version of Aqualung. TAAB sounded great, along with Budapest. My son, who's a musician, loves seeing them play for their technical capabilities, and he gets a kick (is impressed) out of IA as the performer.
The only thing that struck me as I sat watching/listening was what was really different from the summer, having seen JT in Boston. With two of the members the same, and the setlist very close to the Tull show, was it worth my money? This is a guy who first saw them on the Aqualung tour way back and has seen them faithfully nearly every year since, and bought pretty much every album as it came out.
Obviously, on one hand, IA=JT, so it's difficult, if not impossible, to separate them. Then again...I did love hearing Wond'ring Again, and would really enjoy hearing other rare gems in this type of show from IA, e.g. Dr. Bogenbroom, Baker St. Muse, etc.
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Post by Deleted on Nov 20, 2010 15:53:01 GMT
Ian Anderson, The Birchmere, Alexandria, VA- 11/15www.jambands.com/reviews/shows/2010/11/17/ian-anderson-the-birchmere-alexandria-va-11-15Published: 2010/11/17 by Nancy Dunham "Ian Anderson has still got it." "Yes, you’ll read reviews of the solo tour by Jethro Tull’s founder that gripe about the quality of his voice or the “hopelessly outdated” songs in his set list – Ignore them. Anderson – truly the Minstrel in the Gallery who has led prog-rockers Jethro Tull through 40+ years of success – played the legendary Birchmere in Alexandria, Virginia this week and knocked out the sold-out audience, which included a healthy dose of under 30-somethings. Naysayers will tell you that the multiple standing ovations for Anderson and his four-member band were akin to the “Lifetime Achievement Awards” given at some major award shows. That’s ridiculous. Not only was Anderson and his band mates at top form digging deep into the Tull Catalog (“Life’s a Long Song,” “Bouree,” “Budapest,” “Wond’ring Again,” “Up to Me,” “Nursie”) but added dollops of power and artistry to those classics. And don’t even start talking about the stunningly artistic 15-minute version of “Thick as a Brick” or his witty rendition of the “The Hare That Lost His Spectacles” from “A Passion Play.” Shake your head if you want, but the reworkings were brilliant and certainly no stroll down memory lane (or at least just a minor one). Between the fan favorites, some newer tunes, and the hot-off-the-notebook tunes Anderson introduced – including an unnamed song that he had written just a week or two before this show– the music was delicately arranged with plenty of surprises – castanets here, an accordion there, bongos here. Ian’s a smart man and he knows how to take the music he’s written through the years to the next level to satisfy his audiences and his own creativity. While some classic rockers forego tours for fear of belittling reviews, Anderson massages the music so that it suits his 63-year old voice. He also surrounds himself with brilliant players including those on this tour: John O’Hara on keyboards and accordion, David Goodier on fretless bass and percussion, and Scott Hammond on drums. Anderson enjoys working with an array of musicians because he still considers himself a student of the art. That was obvious but the way Ian and his band mates played, which brought to mind something akin to synchronized sonic swimmers. A stand out on this tour is brilliant German musician Florian Ophale on classical and electric guitar. His accompaniment melded well with the other players but the real magic of his playing was unleashed during the two solo spots he was given in the set. Although many audiences race to the exits when they know what encore will be played, there was hardly any movement within the Birchmere as the band finished its set with “Aqualung,” and moved into the encore of “Locomotive Breathe.” “Oh please,” said Anderson during one of several standing ovations. “You’re too kind. Don’t get carried away.” With Ian unearthing and polishing such gems, that’s almost impossible." And another, and another...
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Post by steelmonkey on Nov 20, 2010 16:33:39 GMT
Good reviews for Good concerts...Life is indeed a long Song...thanks TTT for the ongoing review procurement...from my selfish point of view...each gushing review increases the chances that the Tull/Ian touring continues and I get my turn, again, sooner than later..the tours for this review and the strong setlist make it so tempting to jump on a plane and see one of the last gigs in the east...alas...kid, job, and a million other little things make it impossible..
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Post by aqualung on Nov 23, 2010 13:37:55 GMT
Story in today's (23rd November) Wall Street Journal
"Anderson Avoids the Late-Career Tull On a Rare Solo Tour, the Classic-Rock Trailblazer Offers a Less Familiar Sound"
Being a subscription-based site, I'm loathe to post copyrighted material here...
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Post by Deleted on Nov 23, 2010 14:56:55 GMT
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Post by maddogfagin on Nov 26, 2010 18:23:04 GMT
Ian Anderson - Thick As A Brick - City Winery 11/23/10
Thanks to Electrocutas for mailing me the link. You saw it here first.
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tommie
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Post by tommie on Nov 28, 2010 5:51:09 GMT
That place is the size of my living room and he still cant be heard. Why does this man still try to .... ahem.....er......."sing"?
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Post by maddogfagin on Jan 7, 2011 18:54:26 GMT
From www.allaboutjazz.comAn Evening With Jethro Tull's Ian Anderson by Mike Perciaccante Ian Anderson NYCB Theater at Westbury Westbury, New York November 24, 2010 Some might call the music of Jethro Tull and Ian Anderson a fascinating mix consisting of tales of ancient folklore sung over electric, acoustic, medieval-influenced, classical, Celtic, Indian, progressive rock and orchestral avant-garde jazz. On this warm, Wednesday evening, the day prior to Thanksgiving 2010, Ian Anderson and his top-notch band consisting of bassist David Goodier, keyboardist/accordionist John O'Hara, drummer Scott Hammond, and German-born lead guitarist Florian Ophale thrilled the Long Island faithful with a semi-acoustic set at the NYCB Theater (formerly the Westbury Music Fair). Billed as an "An Evening with Jethro Tull's Ian Anderson," the performance began at precisely 8pm. The concert, which was divided into two sets with a 20-minute intermission, consisted of inspired reworkings of the familiar fan-favorite Jethro Tull catalog; some newer tunes; some obscurities; and a song so new that it hadn't yet been titled, as well as "The Story of the Hare Who Lost His Spectacles," from A Passion Play (Chrysalis, 1973),which was spoken and acted out by Anderson. Always the showman, the 63-year-old Anderson held the crowd in the palm of his hand as he regaled them with his tales of living on his farm in England, his wife, his family and famous son-in-law (actor Andrew Lincoln who is starring as Deputy Rick Grimes on AMC's The Walking Dead), his love of classical music and former band members. Opening the evening strumming on a small acoustic guitar, Anderson plucked his way through "Life's a Long Song" before switching to his signature flute. The first set also included the rarities "Up To Me" and "Nursie," and the solo offering, "In the Grip of Stronger Stuff," which can be found on his solo recordings Ian Anderson: Divinities—Twelve Dances with God (EMI, 1995) and Ian Anderson Plays the Orchestral Jethro Tull (XYZ Music, 2005). Anderson and the band rounded out the first set with "Hare In the Wine Cup," the spoken-word "The Story of the Hare Who Lost His Spectacles" and a truly amazing and moving take on Bach's "Prelude in C Major," which segued into "Bourée," from Jethro Tull's Stand Up (Chrysalis, 1969). Following a short intermission, Anderson and his stellar band returned and delighted the crowd with a very precise and crisp version of "Thick As A Brick." Anderson then explained that Florian Opahle would be playing an instrumental. The young guitarist then proceeded to reinvent Bach's "Toccata & Fugue in D Minor" in what can only be described as jaw-dropping fashion. Opahle's hands moved fast and fluidly across his electric guitar while the audience sat mesmerized by his virtuosity. The evening was rounded out with a trio of Jethro Tull favorites: a beautiful version "Budapest" from the 1987 album Crest of a Knave (Chrysalis) and the two songs that many members of the audience spent the entire evening waiting for the band to play: "Aqualung" and "Locomotive Breath" both of which were from the Aqualung album (Chrysalis, 1971). As anyone who was in attendance can attest, even after 40 years, Anderson, the charismatic front man, still has a knack for taking familiar tunes and reinterpreting them, while breathing new life into them by delicately incorporating new musical ideas and instrumentation (castanets, accordion and bongos to name a few). The addition of this new instrumentation, along with Anderson's flute playing, and witty and erudite lyrics, combined with the artistry and majestic highs and lows of the source material made for a completely magnificent evening that left the audience satisfied but, nonetheless, wanting more. Photo Credits Christine Connallon
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Post by JTull 007 on Feb 14, 2021 0:36:48 GMT
Anyone see IA in Northampton, MA last night? I took my son, was about 8 rows back. It was held at the Calvin theater, decent venue, little frayed around the edges. JFYI, if you ever go there, they didn't check for cameras, etc. In fact, at the beginning of the show, the announcer specifically asked everyone to refrain from 'flash' photography. Hmmm, I wonder if that meant I could have brought my DSLR w/ fast lenses and not used flash...probably not. The set list was identical to what's been posted, e.g. Clearwater. Only difference was that Ian dedicated Nursie to his brother's partner of 50 years, Jim Hastings (?) who had passed away the day before. Overall, I was pleased w/ the show, although I didn't care for the version of Aqualung. TAAB sounded great, along with Budapest. My son, who's a musician, loves seeing them play for their technical capabilities, and he gets a kick (is impressed) out of IA as the performer. The only thing that struck me as I sat watching/listening was what was really different from the summer, having seen JT in Boston. With two of the members the same, and the setlist very close to the Tull show, was it worth my money? This is a guy who first saw them on the Aqualung tour way back and has seen them faithfully nearly every year since, and bought pretty much every album as it came out. Obviously, on one hand, IA=JT, so it's difficult, if not impossible, to separate them. Then again...I did love hearing Wond'ring Again, and would really enjoy hearing other rare gems in this type of show from IA, e.g. Dr. Bogenbroom, Baker St. Muse, etc.
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