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Post by nonrabbit on Feb 2, 2016 11:16:57 GMT
Interview from last year by NZ TV Apart from the initial gaffe by the interviewer re 'Mr Jethro Tull' although he does go on to say 'Ian Anderson- frontman' I found it quite interesting from the point of view of Ian repeating some things albeit in a slightly different form and for the funny quote "I'm a bit of a musical tart" His quote that Equus uses as a signature - 'You have a box of cornflakes that says Ian Anderson and another.. Jethro Tull but both boxes contain the same old cornflakes' However he now contradicts that and says 'Your never sure what flavour you will get ( in a box of cornflakes) This is upstaged by the interviewer who makes a better remark. That's what I found interesting - he's not usually upstaged by an interviewer  Didn't know he had ambitions either to be a pilot - unless he's joking. tvnz.co.nz/breakfast-news/jethro-tull-coming-nz-in-december-video-5999784 |
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Post by JTull 007 on Feb 27, 2016 0:47:13 GMT
A very candid and impressive interview by Radio Romania before the show in Bucharest... EXCLUSIVE - INTERVIEW WITH IAN ANDERSON
(JETHRO TULL) - 06/16/2014  TULL LINK Scroll down to AUDIO: and press play button ... 30 minutes
Interview and translated by Iulia Radu
Even if we are media partners and I requested facilities or tickets for competitions, we wanted
to have part of an interview with one of the great musicians of the past five decades.
Sorin Georgescu Săraru and Diana (Project Events) were kind enough, as there are not many other organizers,
concert promoters important, and we have brokered dialogue with Ian Anderson, Jethro Tull man. 
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Post by jackinthegreen on Feb 28, 2016 10:06:44 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss....  .....it seems that someone became bitter about money, now who could that be I wonder...  ...it's all starting to come out, slowly but surely.......  |
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Post by nonrabbit on Feb 28, 2016 11:10:26 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss.... .....it seems that someone became bitter about money, now who could that be I wonder... ...it's all starting to come out, slowly but surely....... I think he makes a fair point. He finances the tours and he's the main creative force. Although in a creative environment there's bound to be a bit resentment if his ideas 'win' all the time but I don't know what, if any, input is allowed by the other musicians. Does anyone know? No a rhetoric question. We do know his morning routine though; 1. Get up. 2. Coffee machine. 3. Flute 4. Apple Mac computer |
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Post by JTull 007 on Feb 28, 2016 12:57:58 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss.... .....it seems that someone became bitter about money, now who could that be I wonder... ...it's all starting to come out, slowly but surely.......
was the effect of promoters paying less for what had been offered by TULL Management.
Economics can drive many things but it can also make creativity and innovation less respected.
I realize every gig has it's limitations, but why let others decide how many new songs you play?
Of course I had a great time, but it could have been better in my opinion. |
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Post by nonrabbit on Feb 28, 2016 13:11:50 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss.... .....it seems that someone became bitter about money, now who could that be I wonder... ...it's all starting to come out, slowly but surely.......
was the effect of promoters paying less for what had been offered by TULL Management.
Economics can drive many things but it can also make creativity and innovation less respected.
I realize every gig has it's limitations, but why let others decide how many new songs you play?
Of course I had a great time, but it could have been better in my opinion. That's a very good point. Far be it from me to offer advice on the economics of running a tour so I'll throw some questions and points in to the mix. You'd think he was wealthy enough now to 'indulge' in playing new music without it making a profit - all of the time. I mean I wonder what difference it would have made to the audience already paying to hear HE had he played all the new stuff? I wonder what difference it would have made to the profits had he played the full set? Are we right to question his motives given that he still produces? Is he indeed a little bit of a control freak? |
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Post by jackinthegreen on Feb 28, 2016 22:56:44 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss.... .....it seems that someone became bitter about money, now who could that be I wonder... ...it's all starting to come out, slowly but surely....... Sorry to quote myself, but I was referring to Martin Barre...........does nobody else see it. |
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Post by JTull 007 on Feb 29, 2016 3:39:26 GMT
It's worth sticking with this interview for the question near the end, where Ian talks about being the boss.... .....it seems that someone became bitter about money, now who could that be I wonder... ...it's all starting to come out, slowly but surely....... Sorry to quote myself, but I was referring to Martin Barre...........does nobody else see it.
He believes since he is a Leo and a tough guy that it was natural for him to be the boss.
All the while he tries to create a sense of equality while traveling...but he makes the most dough.
After so many years it makes some sense for Martin to feel that way. More rocks on the road. |
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Post by jackinthegreen on Feb 29, 2016 21:28:22 GMT
Sorry to quote myself, but I was referring to Martin Barre...........does nobody else see it.
He believes since he is a Leo and a tough guy that it was natural for him to be the boss.
All the while he tries to create a sense of equality while traveling...but he makes the most dough.
After so many years it makes some sense for Martin to feel that way. More rocks on the road.In my opinion Ian has to get the lions share, without Ian's songwriting there would be no songs...  ....simple as that, no albums, no tours.....  Ian would have been successful even as a solo artist, he never needed anyone else. If Martin wasn't happy with the money he was getting why did he stick with Ian all those years Ian is Jethro Tull, the man is pure genius. |
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Post by maddogfagin on Mar 4, 2016 9:43:54 GMT
 classicrock.teamrock.com/features/2016-03-03/ian-anderson-the-10-records-that-changed-my-lifeJethro Tull mainman Ian Anderson picks ten records that transformed everything, from Stateside swing to Finnish folkHot on the heels of the news that Jethro Tull’s classic album Aqualung will be issued as a Steven Wilson-remixed 2CD/ 2DVD package on April 22, the band’s mainman Ian Anderson sat down with Classic Rock to run down his selections for the 10 records that changed his life. “Obviously, when you’re talking about records that are ‘life changing,’ to use that term, you’re usually talking about pieces of music that you heard in your youth,” Anderson says. “But I’m one of those people who never stops listening to new things, so happily there are some recordings that have had a dramatic impact on me in later years. You never know when something is going to hit you and strike that chord, so to speak. It’s always a wonderful surprise when it happens.” Glenn Miller and his Orchestra – In the Mood (1939) Johnny Duncan & his Bluegrass Boys – Last Train to San Fernando (1955) Muddy Waters – Hoochie Coochie Man (1954) Graham Bond – Spanish Blues (1965) Pink Floyd – The Piper at the Gates of Dawn (1967) Roy Harper - Come Out Fighting Ghengis Smith (1968) Jethro Tull – Aqualung (1971) Herbert von Karajan/ Berliner Philharmonic Orchestra – Beethoven Symphony No. 9 in D Minor (1963) Värttinä – Aitara (1994) A.R. Rahman – Bombay Theme (1995) [ Complete article including videos and record analysis by IA via the link above] |
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Post by steelmonkey on Mar 4, 2016 17:26:05 GMT
Very impressive, eclectic, honest and investigation-worthy list. Leave it to Ian to give real thought and provide such a personal response to a generic rock rag question.
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Post by maddogfagin on Mar 4, 2016 18:57:44 GMT
Very impressive, eclectic, honest and investigation-worthy list. Leave it to Ian to give real thought and provide such a personal response to a generic rock rag question. It's homework for weekend. Ms Rabbit will be setting the test on Monday |
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Post by steelmonkey on Mar 4, 2016 19:30:45 GMT
Bond and Harper fun vitamins but I ain't listening to no Bay-toe-veen.
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Post by nonrabbit on Mar 5, 2016 7:34:00 GMT
Very impressive, eclectic, honest and investigation-worthy list. Leave it to Ian to give real thought and provide such a personal response to a generic rock rag question. It's homework for weekend. Ms Rabbit will be setting the test on Monday No she won't she needs at least a week to listen to it herself I am cherry picking from the list and was intrigued by the Finnish band Varttina however I listened to a couple of songs but because of the female vocalists I thought of my favourite Scandinavian female singer - Eivør Pálsdóttir and the Faroe Isles - which I prefer - so there Ian. The lady herself - music by 20th century Icelandic composer Thorkell Sigurbjornsson. Here's a lovely video which shows wandering, sea-faring minstrels and how important music was/is when there's no shops about - love the lift as well. |
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Post by nonrabbit on Mar 15, 2016 9:17:39 GMT
Latest interview Famed Radio Disc Jockey, Eddie Winters chats with Music Icon and Founding Member of Jethro Tull: Ian Anderson - Touring, Steven Wilson, Keith Emerson and more Funny quote of the interview - see next post  |
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Post by JTull 007 on Mar 15, 2016 17:38:15 GMT
Latest interview Famed Radio Disc Jockey, Eddie Winters chats with Music Icon and Founding Member of Jethro Tull: Ian Anderson - Touring, Steven Wilson, Keith Emerson and more Funny quote of the interview - see next post
Eddie-Ian LINK
Eddie Winters must be quite a favorite on the West Coast with Bernie (Steelmonkey) too.
That's why I enjoy being a Forum Member because everyone shares so many cool things here!
Thank you so much Patti (Non-rabbit) for making my day in such a Tull-Ian way
There's some more on 2 streams which are posted here including Ian doing a promo for...   |
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Post by nonrabbit on Mar 15, 2016 19:16:47 GMT
That's why I enjoy being a Forum Member because everyone shares so many cool things here! .... making my day in such a Tull-Ian way That's what it's all about Jim He certainly seemed very relaxed and chatty. He also sounded understandably upset about Keith Emerson. |
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Post by jackinthegreen on Mar 15, 2016 23:52:18 GMT
That's why I enjoy being a Forum Member because everyone shares so many cool things here! .... making my day in such a Tull-Ian way That's what it's all about Jim He certainly seemed very relaxed and chatty. He also sounded understandably upset about Keith Emerson. Do you think so....... I thought it was all very "matter of fact"........ and I had expected a tribute to Keith on the Tull site......... Bowie never toured with Tull did he. |
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Post by nonrabbit on Mar 16, 2016 13:38:34 GMT
That's what it's all about Jim He certainly seemed very relaxed and chatty. He also sounded understandably upset about Keith Emerson. Do you think so....... I thought it was all very "matter of fact"........ and I had expected a tribute to Keith on the Tull site......... Bowie never toured with Tull did he. I think they're all matter of a fact nowadays and for the last few decades. He might have had a bit of a 'loose cannon' approach when he was young but even then it was more waffling and theorising like a student rather than saying something unguarded. I felt he came across more at ease and chatty with this one and not putting on an act - so to speak. |
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Post by bunkerfan on Mar 24, 2016 8:38:18 GMT
Ian Anderson interview with James Grant
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Post by Deleted on Mar 31, 2016 16:42:17 GMT
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Post by maddogfagin on Apr 1, 2016 8:12:40 GMT
Jethro Tull founder brings rock opera to PACShane Nyman, USA TODAY NETWORK-Wisconsin 3:33 p.m. CDT March 30, 2016 www.postcrescent.com/story/entertainment/music/2016/03/30/jethro-tull-founder-brings-rock-opera-pac/81783056/Let's get this clear from the get-go: Jethro Tull, the classic rock and roll band behind hits like "Aqualung" and "Locomotive Breath," isn't playing the Fox Cities Performing Arts Center this weekend. But Ian Anderson, the 68-year-old Scotsman who founded the band nearly 50 years ago, is. And he'll be performing "Jethro Tull," the rock opera that's stuffed with a number of songs from his band's catalog (as well as some new numbers). Also of note is the rock opera is centered around Jethro Tull, the man for which the band is named, who was a key figure in the British agricultural revolution some 300 years ago. So, to recap: "Jethro Tull" is a live performance from the man behind Jethro Tull, about the man named Jethro Tull, featuring some of the most well-known music by Jethro Tull. Got that? "I don't think it's necessary for people who come to the show to know or care too much about what the story is or the detail," Anderson said by phone from London. "They're just coming along to be toe-tappers." Anderson knows that his high-concept stage show is a lot to take in for casual fans, many of whom might just be showing up to shout about "Sit-ting on a park bench!" and not to give two seconds of thought to the Englishman who created the horse-drawn seed drill. Those who do want to wade into the narrative can do so as they please, and Anderson urged interested parties to head to JethroTull.com to read up on the show he's dreamed up. In advance of his Saturday stop in Appleton, we talked to Anderson about coming up with the far-out idea of setting a 1700s inventor into the future and telling the story with songs from the Jethro Tull arsenal, the history of the flute in rock music and opening for Led Zeppelin at the peak of their power. Q: When did you realize Jethro Tull was somebody so interesting you wanted to create a show about him? A: Over the years since our agent gave us the name Jethro Tull I've always, not studiously, but really more or less kind of avoided knowing too much about him because I felt a bit awkward about identity theft. And so I didn't really want to get too close to Jethro Tull the historical character. ... So it was early in the summer of 2014 when I was driving through northern Italy and looking outside the car window and seeing various forms of local agriculture, different crops growing, and I just wondered what old Jethro would make of Italian farming methods. ... So I looked up Jethro Tull and found a few accounts of his life and found to my amazement he had in fact traveled to northern Italy and southern France to ostensibly, on a bit of a rest cure because he suffered from bronchial ailments rather like the character Aqualung in the song, and he picked up some ideas from European agriculture, which apparently incorporated into some of his thoughts and writings. ... So there were a lot of little coincidences in many aspects of his life, which immediately I responded to emotionally because I thought, "Wow, I've got a song about that." I then wrote down a list of songs that seemed to apply to various aspects of his life and times and logically I thought, "Well, there you go. There's a song narrative based on songs that I've already written." And it just occurred to me that rather than make it a historical piece I would set it in the present day or near future. Q: Were you ever worried that you were forcing some of the songs into the story? A: Except for a couple of cases, no. It was easy. They were songs that were already on the topic of either environmental issues or farming or something to do with the countryside or rural life. There were a couple that I had to write and develop the story a little bit to justify them being there but for the most part, no. It's required a little artistic license to fit a couple of them in. Q: The label of a rock opera carries a lot of weight. Was there any hesitation when calling it that? A: An enormous amount, which is why I stopped using it. I just can't think of any other way to describe what you do when you have a bunch of songs in a narrative context and you join them together with little linking passages to explain where the story is going. ... Rock opera is the somewhat hack name but obvious choice. Q: Why do you think no other band in rock and roll has been able to utilize the flute quite like Jethro Tull? A: Well, they have and they did before I started playing the flute. The flute was not an uncommon instrument in pop music and in jazz and folk music, as well as classical music. But by the time I started playing the flute, I think quite possibly the Moody Blues featured the flute — you know, not in a very forceful way but more in a decorative context. ... My way of using the instrument was really as a guitar substitute when I gave up playing electric guitar. ... It had to be the equal of the electric guitar, so from the very beginning I played with a very aggressive singing tone that would allow it to cut through and be a bit more dynamic. And if you do that, people sit up and notice you because of it. I guess it makes it less satisfying to subsequently come along and do the same thing because someone got there before you. Luckily I got there first. Ian Anderson is likely the most famous flutist in the history of rock and roll. (Photo: Getty Images) Then arguably Eric Clapton got there first, which is why I quit playing the guitar because I knew he was much better than I was and I didn't want to be a second-rate guitar player in the wake of Eric Clapton. ... or Jimmy Page or Jeff Beck or Ritchie Blackmore or any of those guys. So I made a switch and I guess a lot of people have been possibly put off playing the flute in a rock band because they would suffer endless comparisons, which would get to be a pain in the ass to be asked about all the time. Q: Over the past 40 years, you've toured with some of the biggest names in rock and roll. When you think back to all you've seen, what's the most impressed you've been by a band or performance? A: Out of the bands we've been on the stage with and worked with, probably in terms of knowing that there was some real excitement and musicality, probably Led Zeppelin around 1969. We were the opening act and you couldn't help but enjoy the whole atmosphere of what they did on a good night. ... On a good night, when everything was just clicking into place, they were without a doubt for me the best rock band in the world. They were unassailable and it was something very joyous to watch — but at the same time intimidating if you are a bunch of kids who just got off the plane and it was your first or second American tour. You were up against going on stage before what was already a very big, established headline arena act. It was quite testing. It does make you push yourself and trying to raise your game and give a good account of yourself because you're going to be followed by the band everybody's really come to see. It's good to test your mettle. And I'm sure the same thing applied to bands later who found themselves being a support band for Jethro Tull. They had to do their best, try a bit harder. If you go What: "Jethro Tull," written and performed by Ian Anderson When: 8 p.m. Saturday Where: Fox Cities Performing Arts Center, downtown Appleton Tickets: $59 and up; available at the Fox Cities PAC ticket office, ticketmaster.com and 920-730-3760
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Post by Deleted on Apr 12, 2016 13:53:44 GMT
Whopperjaw Jethro Tull’s Ian Anderson Prefers to Write about “Stuff”Despite your disdain for the questions, your answers are rather revealing. I like the fact that you acknowledge the loyalty of your fans as a key to the band’s longevity. For all artists, that’s what it’s about. For those that don’t enjoy that longevity in the longer term, they enjoy the fickle interests of those who move on to the next thing. For us, Japan was a bit like that. We never engendered ourselves to the young generation there. If you didn’t go back and play on a regular basis in Japan, you tended to be forgotten. That’s just my experience. I’m sure there are other artists they are loyal to. We started out well in Japan but it fizzed because we didn’t go back regularly enough so there wasn’t a big turnout when we did go back a few years later. They’ve grown up and left us behind. Your songs often provide social commentary. I feel like the critique of organized religion is as relevant today as it was when the songs originally came out. I’m one of those songwriters who prefers to write about stuff. If I just write about me and how my baby done left me, I think we’ve heard all that before by people who have done it far better than I could ever do it. I tend to steer clear of the common subjects of song lyrics. It’s been done and done again. I chose, as I have done most of my life, subjects that, though sometimes they’re told from a personal standpoint, are ones that people can relate to from their own experiences and imaginations. I write about stuff. I write about difficult stuff sometimes. Novels stand the test of time too. That’s the thing about good movies and good books and television dramas. They work in another age and perhaps live on through generations. You could say that about the Beatles and Rolling Stones and Mozart and Muddy Waters. We see around us many examples of creativity that have been multi-generational in their impact. I think that’s the case too with classic movies. Every year, people still tune in and watch the Sound of Bloody Music and Mary Bloody Poppins and they love it, even though it has this gory Technicolor look about it. People love it because it’s a great story and delivered with the kind of panache you can only do at a certain time. It would be unthinkable to make that kind of entertainment today but we view it in a historical context and we enjoy it even though it might look a little dated. Just as music might sound a little dated, it doesn’t stop our enjoyment of it. I’m happy to join the creative throng that have preceded me. Posted April 11, 2016 by Jeff in Tunes |
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Post by maddogfagin on Apr 15, 2016 8:28:45 GMT
Quite probably a re-post or a cut'n'paste job but, hey, it's Friday clatl.com/cribnotes/archives/2016/04/14/ian-anderson-tells-the-tale-of-jethro-tullIan Anderson tells the tale of Jethro TullPosted By Mathis Hunter on Thu, Apr 14, 2016 at 5:22 PM  CENTURION OF THE STAGE: Ian Anderson of Jethro Tull. Ever an inventor and interpreter, Ian Anderson has re-envisioned the life and times of the 18th century English agriculturalist Jethro Tull, the man from whom Anderson’s musical project over the last forty-eight years takes its name. Anderson has created a show which will tell the story of the original Mr. Tull’s life in a quasi-operatic structure illustrated through carefully curated songs culled from the band Jethro Tull’s catalog. Interestingly enough, Anderson decided to place the story in the not-too-distant future and investigate our modern day issues in agricultural development including climate change, population growth, cloning, and other hot topics, rather turning it into a “quaint period drama with costumes and wigs to match.” The self proclaimed “eternal optimist” explains that though the program will deal with heavy subjects of the human condition, it will ultimately be “presented in an up-beat and whimsical way for your entertainment, curiosity, and devilment.” The incredibly eloquent Anderson recently took a few minutes out to talk about the upcoming tour, songwriting, stage volume, and the magic of the stage. When writing songs, do you start with a melody or riff first, or with a lyric? Is there a general guideline? Well I try to avoid doing things the same way all the time, as a rule. Sometimes it’s music, sometimes it’s lyrics, sometimes it’s something that’s rhythmic, or maybe it’s a sound in my head, some particular tonality. But you know, I never really liked the idea of having a Modus Operandi, something that would be, “the way I do it.” I try not to be repetitive in the way in which I build musical ideas and get to a complete song. But having said that, there are times, particularly with things that are conceptual when you’re working on a project where there is an overall concept of it, an album or a very long song, then maybe for me it would make more sense to have some lyrical ideas either right at the beginning or very very quickly. Because the biggest mistake I think I’ve made over the years is writing lots of music and then not having any lyrics. That’s a mountain to climb to try then to find the words that fit the tune. If it’s going to be a song as opposed to be an instrumental piece of music, then I like to feel that I’ve got the lyrics pretty much at the beginning, sometimes even to the extent of writing the lyrics first. Because lyrics, to me, have a cadence. If you just speak them they’re already becoming a song. Just the rise and fall of the way you would read it on the page is beginning to suggest elements of a melody. The way in which you write the words, the way in which they connect will start to imply rhythm. So, in a way, sometimes writing the lyrics first, the music comes very easily afterwards. But to me it’s harder the other way around. Oh, really? Well, there’s lots of times when I have written the music first, or at least the essence of the music. Maybe it’s hinging around a riff, or a repeating motif, a pattern, or an introductory phrase, and I know that can get me into trouble as a songwriter, to go too far with the music and not have a lyrical idea. So I prefer the security of at least having some song lyrics more or less in the beginning rather than leaving it til the end. And then, often times those lyrics begin to suggest a melody to you, it sounds like you’re saying? Yes, that’s just the nature of the way you write lyrics, isn’t it? I think you’re beginning to imply a melody. The rise and fall of the human voice and the spoken word begin to suggest something where a melody may go up here and down there, and the way in which you connect it all together will imply some rhythm which you can build upon. So for me, lyrics are a good starting point. But, if I write two lines of music, I want to feel I’ve got at least one line of lyrics to go with it (laughs). Is writing a constant process for you? Do you wait for ideas to come to you, or do you make an effort to sit down and say “I’m going to work on something?” I always try to set aside time to write things. I think that once in awhile you get an idea without really consciously thinking about it. Something will come to mind and suggest itself as a melody or a title for a song. But most often, I try in a more disciplined way, I sit down and say, “Today’s the day I start working on something,” and I get on with it. Hopefully by lunchtime, I’ve got something to show for my efforts. How did you go about selecting the songs for the Jethro Tull story? Well, I made a list of songs that in some way, seemed to me, to relate to the story of the original Jethro Tull, the agricultural inventor in the 18th century. And I found that I had quite a list of songs that just seemed to fit the details of his life story such as we know it. We don’t really know that much about Jethro Tull. But such as there is known, I thought, “Wow, I’ve got a song that kind of fits that” and thought I could tell the story of Jethro Tull the agricultural inventor with the songs that I have written as Jethro Tull in the rock music context. It seemed like a fun way of doing essentially a best of Jethro Tull tour, but putting those songs into a narrative context where I’m telling a story. I took a little artistic license by resetting it in the present day and near future which is what the show is about. And all of that you can find by going to jethrotull.com/synopsis. You’ll see the list of songs and the outline of the story that they’re telling. Your current touring band is very dynamic and you play at a very respectable volume on stage. Is that something that has developed over the years? We’ve never really been a very loud band compared to most rock bands. I think perhaps maybe in the very first couple of years of Jethro Tull [we were]. I think when young musicians are able to acquire loud amplification, they think that’s the way forward, but we learned pretty early on. I think by the time we made the Aqualung album, for example, there was quite an acoustic component to that album, and therefore the need to keep volumes relatively modest onstage seemed to be an awareness that we all had. And so, making too much noise onstage never really seemed very helpful. It makes life so much harder for the sound engineer there in the front, because you know, you spend a lot of money on a big PA system to do that for you in a balanced context. And if you produce too much noise onstage, you get all sorts of issues that occur. You know, phasing, delay, all kinds of problems, it becomes quite difficult. I think the quieter you are onstage, I mean volume terms, I don’t mean in dynamic terms, the physicality, you can play in a dynamic and very strong and purposeful way without necessarily making a lot of noise. Unless maybe you’re a drummer, and even then you have some option in regard to the kind of drums you use and the size of your sticks. But certainly, if you’ve got an amplifier then, as we’ve all known for many many years, you can make a very loud sound out of a very small amplifier. It’s not brute force, it’s the quality of sound. The symphony orchestra can sound huge, and big, and dynamic but the actual volume in decibel terms is relatively low. And so, these are things we learned pretty early on, there’s no point in making a huge row. And there are other bands that I’ve been amazed at how loud they are onstage when I’ve sometimes got up to play with other people. I’m just staggered at the volume at which they play onstage, it just becomes, to me, excruciating, because I’m an acoustic musician. If I’m playing the flute or the acoustic guitar, I’m not very grateful for people playing at enormous levels behind me because I have no way to turn up, even if I wanted to, which I don’t. I have a musical comfort zone in regard to volume, and it’s probably set quite a bit lower than the majority of rock musicians. To paraphrase early interviews, you stated that you didn’t want to be a third rate electric guitar player so you picked up the flute. But listening to albums like Benefit and Aqualung, your acoustic guitar playing is very well developed. Had you been playing in that style before the band began or was that something that happened later? I tried to learn a little bit about playing the acoustic guitar after Jethro Tull began because I only used it as a way of writing songs to begin with. Probably around the time of the Aqualung album I was beginning to try to evolve some kind of style as an acoustic guitar player that would not only work in terms of the songs that I was singing, but also gave me some increased skill, which helped me with the next lot of songs. So around 1970-71, I became more evolved in the acoustic guitar and tried to evolve some technique that I didn’t have before. The same thing applies today, I enjoy playing the acoustic guitar, but as you rightly point out, to be a third rate electric guitarist would have not been a great future for me. Much better to be a second rate flute player, at least I was in with a chance. What is it about the physical stage that transforms you into a performer where you’re pushing your limits? Maybe it’s just something that’s in your blood, the theatrical context of being in a magic place where you step out onto a concert stage, or theatre stage and there’s something. It’s a gladiatorial thing as well. It’s like walking out there into the arena and facing another armed Centurion who wants to kill you. You feel that sense of having to go out there and put yourself on the line, that’s what it’s about. Whether you’re a Shakespearean actor, or whether you’re a tennis player, a Formula One racing driver, or whatever it might be, you’re putting yourself out there, you’ve got to do the job. The atmosphere of the theatrical stage is something that reaches out to you and draws something from you, perhaps that you wouldn’t find in yourself if you spent all your time sitting at home making coffee or writing songs. There’s something about going out there and walking onto that public stage. It draws from you the best you can do. Jethro Tull: Written and performed by Ian Anderson. $26-$96. 8 p.m. Sat., April 16. 660 Peachtree Street N.E. 404-881-2100. www.foxtheatre.org. |
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Post by JTull 007 on Apr 15, 2016 11:10:11 GMT
Quite probably a re-post or a cut'n'paste job but, hey, it's Friday clatl.com/cribnotes/archives/2016/04/14/ian-anderson-tells-the-tale-of-jethro-tullIan Anderson tells the tale of Jethro TullPosted By Mathis Hunter on Thu, Apr 14, 2016 at 5:22 PM What is it about the physical stage that transforms you into a performer where you’re pushing your limits? Maybe it’s just something that’s in your blood, the theatrical context of being in a magic place where you step out onto a concert stage, or theatre stage and there’s something. Jethro Tull: Written and performed by Ian Anderson. $26-$96. 8 p.m. Sat., April 16. 660 Peachtree Street N.E. 404-881-2100. www.foxtheatre.org.
TULL LINK Which one is Jethro Tull? |
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Post by maddogfagin on Apr 30, 2016 9:15:59 GMT
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Post by maddogfagin on May 5, 2016 15:00:47 GMT
Three page interview with the headmaster (well actually two pages and one large picture) in the June edition of Classic Rock magazine - the one with Angus Young on the cover. There's also a half page review of the re-packaged Aqualung release. teamrock.com/classic-rock |
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Post by Tull50 on Jun 18, 2016 0:45:57 GMT
Surely many already have seen on facebook...but here remains for posterity Ian Anderson Interview At Legends Live Tenerife 20.05. 2016 |
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Post by nonrabbit on Jun 21, 2016 9:14:30 GMT
![]() i67.images obliterated by tinypic/2r3jgd1.jpg[/IMG] Ian interviewed by Michael Friedman clinical psychologist for Psychology Today - intriguingly and possibly unintentionally titled Brick by Brick. "And in talking with Anderson, it became clear to me that perhaps the most progressive thing we can all do is dare to be ourselves." "“That’s the reason I’ve never taken drugs, is because I suspected that I would be in the category of the people who wouldn’t be able to quit,” he said."www.psychologytoday.com/blog/brick-brick/201606/ian-anderson-s-progressive-path |
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stevep
Master Craftsman
Posts: 437
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Post by stevep on Jun 21, 2016 16:47:58 GMT
Thanks for posting the Tenerife interview. I am a big Tull / IA fan but have to admit that IA certainly rambles on a bit too much for my liking.
Poor translator must have struggled to follow what he was on about, let alone trying to translate it into Spanish.
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.....it seems that someone became bitter about money, now who could that be I wonder... 
...it's all starting to come out, slowly but surely....... 
....simple as that, no albums, no tours..... 
