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Post by nonrabbit on Nov 3, 2011 9:36:56 GMT
Dee
You made an outstanding magical contribution to Tull and your answers here are a treasure.
I've been listening to the gem that is OWD and the pizzicato strings - sublime!
What are your thoughts on the 40th anniversary remastering of A and TAAB?
Patti
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Post by deepalmer on Nov 4, 2011 11:12:19 GMT
Dear DP, We usually associate you with the late 70's when Tull was a fine-tuned music making machine...but as you reminded us with the affection for 'This Was', you were there at the start. Do tell...how as it with the original quartet? Humble provincial novelties trying their luck in the big time or confident guys who had a plan? And what of Ian? How was his evolution from Blackpool success to finding his way in the metropolis? I cringe when i think of the hustlers and druggy 60s types who probably threw themselves at young Ian, not all with good intent. Did inbred cynicism shield him or was there a learning curve with harsh bumps? Did you have a role in helping the founding four thru the social and business mazes that awaited them in 1968 London or did they already have helpers at hand? Dear Steel Monkey, When, in July 1968, I first met Ian (and Terry Ellis, Tull's Manager) to decide a "modus operandi" for my involvement with the group -which, once established was to serve Ian and I very well for the next dozen years - I recall, quite clearly, Terry's omnipresent and immutable air of (what I considered to be) a naive self-confidence and Ian's quiet, yet observant diffidence, masking his fierce intellect and achievements, thus far, as a musician all of which I was, hitherto, unaware of. It was during the "Move on Alone" recording session when I noted that Ian, though unschooled in the subject, possessed formidable musical gifts and skills and, moreover, a wit and the literary and social skills to support and develop them. If I were asked to describe Ian I would resort to employ a poignant phrase in French: "Ils mange pas du dos d'une cuillere." You go translate it yourself - I'll give you marks out of ten! (Actually, it means "He doesn't eat from the back of a spoon".) So! Out of the four original members of Jethro Tull, Ian stood out like a beacon - just as he did on stage - and the others could rely on him to lead. They needed (nor sought) any help or advice from me. How so ever inexperienced they may (or may not) have been of the big, tough world of the music business in the late 60's - and it certainly was - they had, in Ian, a strong captain. One might believe that's all you need but pitfalls there were - mostly in dealing (without recourse to first class professional advice) with copyright and intellectual property and, of course, in making sound investments for the future. There's an old saying in the music business, you know: "Where there's a Hit there's a Writ". We all pay for our experience - there's no avoiding that; I know 'cos I've suffered too! I didn't really get to know Mick, Glen and Clive until many years after they'd gone their separate ways. Martin, of course, I got to know very well from when he joined the group and, together with my family, we shared many memorable times spent at his houses in Bucks and Devon. I can remember on one occasion when I was able to observe, very closely, the group under some considerable pressure and within an environment with which they were unaccustomed - a TV studio - when they did seek advice and support from me. (I'm sure it was because they were aware that I was "at home" in a TV studio; my career, since leaving The Royal Academy, had been as studio writer. They were to perform on Top of The Pops in January, 1970, the new single, "Sweet Dream" and were concerned that I'd be behind the cyclorama (with the orchestra) and they wouldn't be able to see me. I was most touched. Needless to say, they got along without me just fine and, in 1976, I was on the band's side of the cyclorama - playing my tubular bells in "Ring out Solstice Bells". Memories! With best wishes, Dee |
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Post by steelmonkey on Nov 4, 2011 22:47:43 GMT
If a person is indeed the sum of their experiences, you are a very big number, Ms. Palmer...pinch us, is this true? We ask what we hope are polite, respectful questions and are rewarded with your honest, well-written responses...wait...don't pinch me...I don't want to wake up if this is a dream. Today is the day I got the Aqualung re-release with raw versions and sketches....talk about 'spin me back down the years and the days of my youth' !!!!
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Post by maddogfagin on Nov 5, 2011 8:49:01 GMT
Hi Dee
Which classical composers do you admire and briefly why? I always think of Vaughan Williams when I listen to some of Ian Anderson's music and I guess you may be on the same wavelength? It's the re-interpetation of traditional themes that seems the most appropriate.
Thanks
Graham
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Post by nonrabbit on Nov 5, 2011 11:33:22 GMT
Hi Dee
A question as a follow on from the post I've just made about a particular 1977 concert.
My question isn't about that actual concert although if you can remember if Leo Kottke supported Tull that year that would tie that post up nicely!
However the internet scurrying that I did revealed some of the hype that went on that year regarding Ian's so called dislike of the esteemed musical Press.
My question is;
Was it all hype or were you or other members of the band aware of a genuine dislike that Ian had of the media?
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hipflaskandy
Journeyman
OK - this was a while back!
Posts: 223
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Post by hipflaskandy on Nov 5, 2011 19:03:42 GMT
Dear Duncan, Thank you for your kind words of welcome. You enquired as to how the "Machinations & Dynamics of Construction of the Jethro Tull oeuvre 1968 - 1980" worked. Well! May I remind you that you said at the same time "you didn't want to burden me with having to provide lengthy answers" and I shall, therefore, take your point! It was a wonderful time and I wouldn't have missed it for the world. Yours, Dee Thanks Dee! Darn! I did shoot mesel in the foot there! I should have pleaded for the long answers! There's so very much that it so very interesting that I could/shoulda liked to ask about - and it'd end up being a book (of answers) I'm sure. Long evenings discussion over a pint or three, or some wine, would be the ideal world - or maybe you need to consider a lecture tour! Aye!... Our local annual literary Fest (in Ilkley) has seen me attending, to hear and digest an evening with such as John Hegley, Alan Bennett and others. They discussed their work - indulged us with long Q & A sessions - oh, how grand it'd be to capture you at such an evening! But for now - thanks for all you've wriiten on here - it's been most illuminating, bless! I'm particularly chuft to have been able to recognise sections (thanks for itemising some) that've had your 'hand-in'. All the very best for all you go on to do - Cheers - Duncan |
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Post by deepalmer on Nov 5, 2011 21:18:51 GMT
Dee You made an outstanding magical contribution to Tull and your answers here are a treasure. I've been listening to the gem that is OWD and the pizzicato strings - sublime! Dear Patti, May I thank you for your appreciative comments and, moreso, your attention to detail; I am humbled. Though not - in maintaining, hereby, this, i.e. "our" dialogue - do I seek any further compliment, I am minded to recommend (and I presume it would interest you) that you re-visit "The Chequered Flag" and listen for a quote from Beethoven's 9th Symphony. (It's played by the violins following the lyric "The deaf composer, etc.) Also; when next you listen to "From a DeadBeat to an Old Greaser" consider this: Though the lyric was written when Ian first played the song to me in Brussels, in 1975, I suggested to him that he might, perhaps, consider mentioning Gustave Mahler along with Charlie Parker, Jack Kerouac and Renee Magritte. Nothing was to come of that, however, but I, nevertheless - and as a tribute to Mahler who, at the time, had just been "discovered" - wrote the string score in the style of Mahler and with particular emphasis on the adagio from his 5th Symphony. (I donated the original MSS score - together with my leather "biker jacket" from the same period - for auction at a Tullians convention some ten or so years ago.) Oops! I seem to have got myself betwixt the cracks! (No Pun!!) So! re below: The employment of current digital technology is likely to enhance (rather than detract) from the "sound" quality of early recordings. The substance, nevertheless, remains the same. Yours, etc Dee What are your thoughts on the 40th anniversary remastering of A and TAAB? Patti |
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Post by deepalmer on Nov 6, 2011 8:37:13 GMT
Errata.
Re my response to Steel Monkey: The TOTP's performance by JT on 22nd January, 1970 was of "Witch's Promise". (The "Sweet Dream" date was 30th October, 1969.)
Apologies,
DP
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Post by nonrabbit on Nov 6, 2011 9:55:31 GMT
Dee You made an outstanding magical contribution to Tull and your answers here are a treasure. I've been listening to the gem that is OWD and the pizzicato strings - sublime! Dear Patti, May I thank you for your appreciative comments and, moreso, your attention to detail; I am humbled. Though not - in maintaining, hereby, this, i.e. "our" dialogue - do I seek any further compliment, I am minded to recommend (and I presume it would interest you) that you re-visit "The Chequered Flag" and listen for a quote from Beethoven's 9th Symphony. (It's played by the violins following the lyric "The deaf composer, etc.) Also; when next you listen to "From a DeadBeat to an Old Greaser" consider this: Though the lyric was written when Ian first played the song to me in Brussels, in 1975, I suggested to him that he might, perhaps, consider mentioning Gustave Mahler along with Charlie Parker, Jack Kerouac and Renee Magritte. Nothing was to come of that, however, but I, nevertheless - and as a tribute to Mahler who, at the time, had just been "discovered" - wrote the string score in the style of Mahler and with particular emphasis on the adagio from his 5th Symphony. (I donated the original MSS score - together with my leather "biker jacket" from the same period - for auction at a Tullians convention some ten or so years ago.) Oops! I seem to have got myself betwixt the cracks! (No Pun!!) So! re below: The employment of current digital technology is likely to enhance (rather than detract) from the "sound" quality of early recordings. The substance, nevertheless, remains the same. Yours, etc Dee What are your thoughts on the 40th anniversary remastering of A and TAAB? Patti Dee What you point out in the songs is so interesting. It gives a feeling of intimacy as well as added insight when listening to "old friends." Not only that you've made a beguiling Tull link for me too both musically and lyrically. One of my favourite cinematic memories was seeing Death In Venice when it premiered in 1971. As a young teenager the plot was a bit obscure however it was a privilege to hear and see the memorable final scene in all it's cinematic/photographic glory. It was also my first time hearing Mahler. It must surely be one of the finest marriages of score and visuals in cinematic history. Patti |
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Post by hawkmoth on Nov 7, 2011 1:27:52 GMT
Hi Dee
Fantastic stuff hearing these intriguing tales.
just been watching the 1977 Songs from The wood DVD and what strikes me is how much equipment Keyboard players had to set up in the 70's compared to today.
Portative Pipe Organ,Hammond,Synthesiser,Fender Rhodes etc etc.
It looks a monster set up but i really think it sounds so much more 'Organic' than the Digital stuff used today.
What are your thoughts on Technology in Keyboard dept?
Also noticed how much better Martins 1977 guitar sounds than today Juicy,fat, ringing,Fuzzless,real tone.
Bring back the 70's real music!!!
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Post by oksauce on Nov 7, 2011 23:55:43 GMT
Hello, Dee, may I ask what your opinions are on the Tull albums following your departure and on ian's solo albums?
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Post by apocalypse79 on Nov 9, 2011 15:10:12 GMT
Hi Dee,
sadly, I couldn’t make it to the Fan Convention in Worms / Germany a few years ago. Otherwise I would have aksed the following questions in person.
Reading your anwers is the most exciting thing in Tull world since ages!
For me, your orchestrations were always the most important element in Tull music beside Barry’s drumming, Ians voice (in the seventies) and his flute playing.
The strings on „Rainbow Blues“ are the work of a genius. From my point of view the strings perfectly evoke the „Rainbow feeling“ (colourful texture) whereas the rusty blues motive builds up a fitting frame.
Maybe my personal Tull favourite and it only ended up as a flipside!!!!
Any chance to get some more informations on the things left in the vaults?
Talking of „Apocalypse“, „6 o’clock news“ or even a Mike Batt produced version of "Ring out, Solstice Bells"?
I was suprised to hear the guitar solo from Maddy Prior’s „Cold flame“ (by Martin) during your approach on the still unreleased „Apocalypse“ as performed on the Itullian Convention 1999.
Fans around the world would love to hear these tracks or get some informations about them even if there is „a wrong note here or there“ as Ian explained recently.
Thanks for the music.
Sascha from Germany
PS
I would surely buy a complete Tallis album.
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Post by maddogfagin on Nov 9, 2011 18:39:19 GMT
I would surely buy a complete Tallis album. So would I Apocalypse79 and having heard the tracks many years ago on a lo-fi cassette tape all I can say is that it ia a superb body of work and one that many Jethro Tull fans would consider purchasing. Welcome along to the Jethro Tull Forum and enjoy looking through the many and varied threads.  MD |
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Post by nonrabbit on Nov 9, 2011 18:48:04 GMT
Hi Dee, Reading your anwers is the.most exciting thing in Tull world since ages! I totally agree  WELCOME TO THE FORUM APOCALYPSE79Enjoy the threads and post away! Cheers nonrabbit ![]() i44.images obliterated by tinypic/715kew.gif[/IMG] |
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Post by apocalypse79 on Nov 10, 2011 5:47:14 GMT
Thanks for the warm welcome. As Ian does not seem to be keen on releasing another Nightcap or outtakes collection in general because he thinks the remaining leftovers are not worth an official release (he once gave his okay for DJ & Dinosaur from the fruitful 1981 sessions but the double CD Nightcap was already packed), my hopes concerning some more background informations rely on Dee, who, in the past, has even performed and talked about these outtakes from the heydays. Let's hope for some more information.
I've got the New Day sampler with "Disturbed air" on it and I totally agree: I want o hear more of it. By the way, who sang lead vocals on Disturbed Air? Was it Dee?
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Post by maddogfagin on Nov 16, 2011 11:33:48 GMT
Received the following from Dee today with the answers to question put to her recently.
What you point out in the songs is so interesting. It gives a feeling of intimacy as well as added insight when listening to "old friends."
Not only that you've made a beguiling Tull link for me too both musically and lyrically. One of my favourite cinematic memories was seeing Death In Venice when it premiered in 1971. As a young teenager the plot was a bit obscure however it was a privilege to hear and see the memorable final scene in all it's cinematic/photographic glory.
It was also my first time hearing Mahler. It must surely be one of the finest marriages of score and visuals in cinematic history.
Patti
Re Patti’s comment on Mahler Vth
Platoon and the Barber Adagio for Strings are a similar coupling of intensities on the screen and in the score.
Interestingly, the Barber is in B flat minor (5 flats) which means there are no open strings used at all and, thus, the fiddlers have to wrench every note out of
their instruments, which adds to the intensity of the mood in both the music and the images it accompanies.
Which classical composers do you admire and briefly why? I always think of Vaughan Williams when I listen to some of Ian Anderson's music and I guess you may be on the same wavelength? It's the re-interpetation of traditional themes that seems the most appropriate.
Vaughan Williams often used the ancient modes (Dorian, Phrygian, Lydian, Mixolydian and Aeolian) in the composition of his music as well as referring (quite frequently) to the melodies of English Folksong.
Ian’s melodies and harmonies are redolent of this style though he had a penchant for omitting the third in many of his harmonies thus giving that open plangent character to them.
As to a favourite composer of mine? I don’t have one!
I am constantly reminded that I’ll never get round to studying a lot of great music – most of which I know, pitiably, very little at all about. (Next time round, maybe.)
If I had to come off the fence I’d go for Thomas Tallis, William Byrd and all the other English composers from the Golden Age of the Madrigal.
Oh! Of course – Henry Purcell. He’s up there with ‘em too.
Gosh! I could go on……………………….but I won’t. DP
A question as a follow on from the post I've just made about a particular 1977 concert.
My question isn't about that actual concert although if you can remember if Leo Kottke supported Tull that year that would tie that post up nicely!
The first concert in which Leo Kottke supported Tull was at Hammersmith Odeon in the spring of 1977. DP
Fantastic stuff hearing these intriguing tales.
just been watching the 1977 Songs from The wood DVD and what strikes me is how much equipment Keyboard players had to set up in the 70's compared to today.
Portative Pipe Organ,Hammond,Synthesiser,Fender Rhodes etc etc.
It looks a monster set up but i really think it sounds so much more 'Organic' than the Digital stuff used today.
What are your thoughts on Technology in Keyboard dept?
Also noticed how much better Martins 1977 guitar sounds than today Juicy,fat, ringing,Fuzzless,real tone.
Bring back the 70's real music!!!
I don’t think there are any young lions out there to compare with the virtuoso skills of a lot of my contemporaries. As to technology; first I only have half a brain and secondly I’m afraid I’m out of touch. Moreover, I don’t hear any harmonics in today’s textures – probably ‘cos there aren’t any. (Oh dear, I mustn’t bitch, bitch, bitch!)
You say “Bring back the 70’s real music” I say “why not just bring back music?” DP
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Post by nonrabbit on Nov 16, 2011 13:08:09 GMT
I keep sounding like Mr Burns from the Simpsons but I can't help it;
"Excellent excellent"
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Post by stormmonkey on Nov 18, 2011 1:27:45 GMT
Hello Dee, I have so much enjoyed reading your responses to questions. Fascinating, entertaining and educational musical insights. Thank you so much. Earlier in this thread you wrote: "Storm Watch, which - if you seek my opinion - was a very good album, BUT it could have been a Great Album." In my view it IS a great album. Probably in my top 3 or 4 Jethro Tull albums. I like to think of it a Meteorological Rock. I find the overall energy on the album to be raw and very special. Why do you feel Stormwatch wasn't quite as good as it could have been? Might you be so kind as to share ANY musical anecdotes or insights regarding the orchestrations (or music generally) for that album? On the 40th Anniverary DVD you speak about all the smoking that went on back in those times. Very funny story about you and John on the bench! "You do!" - lol. So then, back in the 70s every couple of days it was 200 pack cartons of Dunhill Int for you and John Player Specials for Ian. Two questions. 1) Do you think if those cigarettes had not been around during those times the creative process and end results would have been quite different? 2) How did you manage to quit smoking? I've been smoking for 20 years - day 7 of quitting now and life seems completely desolate without cigarettes. Any tips? Thanks so much for your time and your enlightening writing. Brian (Belfast, Northern Ireland) |
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Post by nonrabbit on Nov 18, 2011 8:14:43 GMT
Hi Brian Nice to see you back. How's the flute playing going? |
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Post by stormmonkey on Nov 18, 2011 14:50:49 GMT
Hi Patti, Thanks for the welcome back! Flute playing is going well, thanks. Still having fun with it. However, NOTHING is much fun at the moment because I am existing in the wilderness world of augmenting my whole life from being a smoker to a non-smoker. Not easy, as you know. I read earlier that you quit. Well done! Hope all is good. Brian. |
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Post by maddogfagin on Nov 18, 2011 14:53:33 GMT
Barrie was asked to join but declined – he had other offers and his own group, Tandoori Cassette, to develop.  |
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Post by alex985 on Mar 22, 2012 10:07:20 GMT
Dee, as well as your excellent work on Jethro Tull, you were deeply involved in another Chrysalis band, Clouds. Have you seen the recent praise for your work on songs like Waiter and Watercolour Days? Why do you think the band and your work with them has been reappraised (and praised) so long after the event? There was also talk about you joining Clouds, was that true? If so, Im glad you didn't , or we may have missed your outstanding work with Jethro! Many thanks Dee for all the fantastic music.
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Post by johnagillespie on May 3, 2012 23:05:45 GMT
I was a friend of one of Glenn Cornick's wives, Pat from Newark, NJ. I found this and related sites last night and saw a picture of Pat (last name unrecalled) and glenn's other wives taken in 2000.
When I met Pat in 1972 I was on the radio in Newburgh, NY. I knew - from her telling me - that she was soon to depart the U.S. to marry Glenn in the UK (even though he already had 5 or 6 wives there).
Please forward this to Glenn somehow and let him know I would like to
correspond with Patti(y) if he has an idea where she may be. She was a special lady to me.
Regards,
John Gillespie
johnagillespie@hotmail.com
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Post by steelmonkey on May 4, 2012 1:40:46 GMT
Your best bet will be Glenn's own website which is pretty extensive and i think he pays it good attention.....all those wives?....Daaaa-uhm! There's a thread on this site with links to ex-members...
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Post by JTull 007 on Aug 15, 2016 10:51:12 GMT
Just found this last night...Complete interview ...  LINK Part 1
Transgender rocker on leaving Jethro Tull and becoming a woman
Thursday, June 30th Words by: Mark Bowen, pictures by: Mark Bowen This concert scheduled for July 7 2016 has been cancelled and will be re-arranged for October.
"Did you used to be David Palmer?’" I said: "Yes, I did. I suppose I still am really. Why do you ask?"
- Dee Palmer
From 1968 to 1979 Jethro Tull enjoyed their classic era. During this period the band benefited
from the extensive talents of the composer, conductor, arranger, and multi-instrumentalist
Dee (then David) Palmer who now lives close to the Herefordshire border.
After spending a long time as a husband and father, and following the death of his wife Maggie
and his mother, Dee made the transition from living as a man to becoming a woman.
If trans issues have never featured more prominently in the world's gaze than they do today,
then among those who write songs for a living, there remains a comforting, unblinking
acceptance of those whose road is one less-travelled.
"You don’t say ‘Are you black?’, ‘Are you white?’, ‘Are you are Jewish?’, ‘Are you gay?’,
‘Are you transgender?’, ‘Are you Polish?’.
"Musicians don’t do that. "You go along and say ‘Hi I’m Dee’."
....................
Originally Dee worked with the band as an arranger but by the ‘Too Old to Rock and Roll:
Too Young to Die’ tour in 1977, she was playing with the band in concert.
By ‘Songs from the Wood’ (1977) she became a full time studio member, going on to play
a vital part in the recording of ‘Heavy Horses’ (1978) and 'Stormwatch' (1979).
Dee finally parted company with Tull in 1980, forming a new group called Tallis.
She then returned to the world of film scoring, advertising and sessions.
Dee was asked to make an orchestral album of Tull music. This led on to a series of album
releases and subsequent orchestral concert tours featuring the music of Yes, Genesis, and Pink Floyd.
Shortly afterwards, she orchestrated ‘Sgt.Pepper’s Lonely Hearts Club Band’ for EMI at
Abbey Road with the Royal Academy Of Music Symphony Orchestra.
More recently Dee recorded an album, 'Norske Popklassikerf' with the London Symphony Orchestra,
performing the rock and pop classics of contemporary Norwegian composers earning a gold album
for sales in the Norwegian charts in the process.
David, as he was, may have transformed into Dee but the musical journey continues and those
incredible musical talents are still in demand. Now she is returning to the stage to perform
a concert at the Left Bank in Hereford on July 7. (Cancelled and will be re-arranged for October)
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Post by JTull 007 on Aug 16, 2016 1:39:40 GMT
I decided to post this part of the interview as Part 2 LINK
Transgender rocker on leaving Jethro Tull and becoming a woman
Thursday, June 30th Words by: Mark Bowen, pictures by: Mark Bowen
Can you tell us about the concert you are giving at the Left Bank?
It came about because I saw a Facebook post about John Bonham’s sister singing there and
Robert Plant jumped up on stage and joined in.
I’ve been thinking, whilst I was not going to bring it on in any hurry, I would get back on to
the road again singing and playing the piano.
It was suggested we do a gig at the Left Bank to an invited audience largely of people like venue owners
and concert promoters to look at what I am doing and think ‘Could this person sell 100/200 tickets?’;
‘Who are the people who would be interested in listening to Dee Palmer singing some old Jethro Tull
favourites and the songs she’s been writing?’
Everyone involved is taking a chance. It is a kind of suck it and see. While I am confident in my ability
I am certainly not over-confident about what the outcome might be because that is not up to me other
than turning in the best performance I can.
If you were to ask me to sum up why I am doing this I would say ‘It’s my drug’.
And so the opportunity to go and play in front of people is once again in front of me.
Are you going to talk to the audience about your transition from male to female?
During the course of the songs I have chosen to sing I have plotted how the songs came about,
why and where they were conceived, there will be reference in my repertoire to my time in the army,
my time in Jethro Tull, my time as a child, and then my time as an adult coping with gender dysphoria
without labouring the point, explaining to hopefully a room full of people just what the phenomenon is.
As well as having the burden, which it was, of being born intersex and then making my life as a male,
there are other issues of transgenderism that I would like to talk about.
I think too much is being made of it. It’s like (asking) ‘Are you a Muslim?’, ‘Are you a Jew?’,
‘Are you a Protestant?’. No. Don’t bother. You go along and say ‘Hi I’m Dee’. You don’t say ‘Are you black?’,
‘Are you white?’, ‘Are you are Jew?’, ‘Are you gay?’, ‘Are you transgender?’, ‘Are you Polish?’.
Musicians don’t do that. During my discourse I will point out the logic of the way musicians work.
What is important to them is the central core of their lives – music, not appearances, or beliefs or anything else.
I came into this world with absolute pitch and total recall. I can give you an account of my life
since I was three. I am also on the autistic spectrum so if you don’t stop me I will tell you everything
I know about everything in the world, so I will be talking about that as well.
What is so good about the prospect of doing this gig is I will be sat there with just a keyboard
and there will bean audience there wanting me to entertain them and I will be able to sing them
songs that they have never heard before.
I will be singing a Beatles song (‘Things We Said Today’) couched in entirely different terms to
the way it was recorded.
I am giving myself every opportunity to win over an audience, gain some positive publicity and
be able to go off hopefully from October until Christmas doing a couple of gigs a week or just one.
Above: Dee (far right) while a member of Jethro Tull in 1978.
When you made the transition what was the response from Jethro Tull fans?
Those that I heard were non-questioning, non-confrontational. Ian was aware of what
was going before anybody else was, other than my doctor, my lawyer, and accountants.
I was living on my own, Maggie had died. My oldest child knew what was going on.
I was in a theatre one night in the West End with a girlfriend going to watch a play and
we got there quite early. We were in the bar having a drink and this girlfriend said
‘there is a man over there and he is stripping you’.
Suddenly this guy comes round. When he spoke it was in a deep mid-west accent.
He said ‘May I ask you a very personal question?’. I said ‘If it’s about the wine, I can’t really recommend it’.
He said ‘Did you used to be David Palmer?’. I said ‘Yes, I did. I suppose I still am really. Why do you ask?’
He said ‘I have seen you so many times. I admire you and your music’.
He said ‘You look really good’ and off he went.”
Tell us about your time as a full time member of Jethro Tull between 1976 to 1980.
I started in ’68 (as an arranger). I didn’t just drop into the band because they wanted somebody.
I was almost creating my own role without knowing it.
At the end of the first world tour of ‘Too Old To Rock and Roll: Too Young Too Die’
I joined the group as a full time member.
I was aware of why they called me in. The songs we were recording, Ian and I had worked on
in the summer of ’76 and we recorded in the autumn of 1976.
That was a learning curve for me.
It was not a learning curve more like a rocket trajectory straight up into the atmosphere.
Everything was of the moment. If Martin (Barre) could not play a line after three goes Ian would say
‘think of something else’. It was like a factory line, a production line but always underpinned by
Ian’s lyrics and the concept of what the song should be about.
Sometimes in the beginning of my time with Jethro Tull Ian would be asleep in a flight case and I
would be teaching the guys in the band the orchestration for this song and (it was) all very exciting.
It remained exciting until the last album when I really wanted to leave the band by then.
I remember this, being at home ready to go on tour. The Limo came up the drive and I said
to my wife Maggie ‘I am not going’. She said ‘put your hat on, go and open the door for the driver and
get your cases. Go off and do the tour and when you come back we will talk about you, just don’t do this.’
She said ‘There must be some underlying problem’.
I said ‘Yes, I have had enough. I have got to move on from this.’
George Martin said you were the only musician equally at home with rock and classical music that he knew.
There were others. I think I was the one most deeply involved in rock music and classical music
because I was writing film scores. I was a ghost music writer at the beginning of my career for
a composer whose identity I have swore I would never reveal and I won’t now.
George knew what I was doing in Jethro Tull because he was very friendly with Terry Ellis, our manager.
I did the Genesis album ‘We Know What We Like’. I am very proud of that album.
For George to say that was a very generous utterance.
But what I did know was what my work with Jethro Tull had been and what my work was
with taking other people’s music and converting it into symphonic terms confidently and
then standing in front of the London Symphony Orchestra and saying please play this.
And them not walking out of the studio in derision.
When he died I posted something on Facebook saying
‘Dear George, it’s a bit late now but I really want to thank you for the guidance I had.’
Can you tell me about the Jethro Tull album ‘Songs From The Wood’?
It’s got a medieval feel to it somehow.
Throughout the album there is a clearly evident reference to things medieval.
On 'Songs From The Wood’ instead of using strings we used my synthesisers.
Synthesisers are synthesisers- they fake things. However, much you try to convince you can’t really.
The album is deeply rooted in the English canon of folk music.
What is the biggest audience you have played in front of?
101,000 at the Coliseum in LA. My Aunty Mary rang to tell me there were 28 drug arrests.
She lived in Wolverhampton and had read it in the Express and Star.
Above: Dee Palmer (far left) with Jethro Tull promoting the Stormwatch album.
What was it like playing in front of that number of people?
It was a strange event because there were two or three other bands on before us. We were the headliners.
There was just a sea of faces but I was already accustomed to playing to 30,000. It was like the
difference between playing football at Wembley or Hereford. It’s the difference between the two things.
Both have the same ambient feel and sound but one is much bigger than the smaller one.
You just think what can those people see? What are they getting out of it? What they are getting
out of it is what the people at Glastonbury get out of it – they get the thing of being there.
It’s being there that matters. It’s being of the moment and so it is for the musician.
Anyone interested in attending Dee's concert at The Left Bank in Hereford should email
Clare Foster at clare@showsoftware.co.uk .
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Post by JTull 007 on Aug 16, 2016 2:47:13 GMT
Part 3 -  A message from Dee August 15, 2016 Dear Jim, in my view, the journalist in Hereford clearly needs some guidance - teaching,
even - in matters of syntax.
I do wish (when asked to write an article about me) that those over zealous "stringers"
eager to sensationalise the ordinary, would confine themselves to the facts and NOT circumstance.
After all, I'm just like any other music writer i.e. a musician trying to write a better tune and,
on some occasions, have managed to do just that. The gender issue - so indulged in by the press -
goes right back to my birth when only my Mom and I were aware of it.
The ambiguity was corrected a long time ago and, in so far as being newsworthy,
it's about as interesting a subject as an empty, used pizza box.
Meanwhile, have a nice summer, Jim. Best wishes, Dee. x
You are amazing! May I quote your message too?
I feel the importance of being who you are and not what others would expect.
You have more courage than most people I know.
Although we have never met, I admire your ability to be so honest about yourself.
Also, any future performances as well and music I would love to spread the word.
Is the show in Hereford set on a date yet?
The postponed show is scheduled for October. I'll remember to keep you posted.
(By all means, quote my above response if you wish to.) dp
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Post by maddogfagin on Aug 16, 2016 7:39:15 GMT
Part 3 - A message from Dee August 15, 2016 Thanks for posting Jim. Much appreciated |
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Post by JTull 007 on Aug 16, 2016 18:08:20 GMT
Amazing video promo from May 23rd, 1997... WOW! Ministry of Info - Tull content:
With Ian: Bourée, Thick As A Brick, Elegy, Too Old To Rock'N'Roll..., Living In The Past (orchestral inst.)
Without Ian: Elegy (D.Palmer, w. vocals) Encore (w. Ian): Locomotive BreathA Symphonic Tribute to Queen- David Palmer at The Royal Festival HallA Symphonic Tribute to Queen by David Palmer featuring the Royal Philharmonic Orchestra.
Live at The Royal Festival Hall in 1997. Filmed, Producer, Directed and Edited by Grant Philpott.
Featuring classical arrangements of Queen and Pink Floyd hits. Including Tie Your Mother Down,
Innuendo, Love of my Life, Killer Queen, Bicycle Race, Another Brick In The Wall,
When The Tigers Broke Free, Eclipse, Who Wants To Live Forever and We Are The Champions. Hello Dee, Have you seen this before? 
Hi Jim, No - but I have now! I remember the gig. Ian was my guest for the second half of the show.
A pity, though, that there was only one, hand held microphone.
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Post by JTull 007 on Nov 23, 2017 23:17:04 GMT
I know you're very eager to get news on my album release.
I will be making all new announcements about 'Through Darkened Glass'
from the official Dee Palmer Facebook page.
It would wonderful if you could pop over and subscribe.
www.facebook.com/MissDeePalmer/ 
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A message from Dee 
But probably best in Humor, Games and Fun Thanks for sharing.
