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Post by orion12 on Jan 1, 2021 8:09:48 GMT
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Post by ash on Jan 7, 2021 10:54:06 GMT
5 Minutes That Will Make You Love the Flute. The New York Times link
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Post by maddogfagin on Feb 11, 2021 10:04:10 GMT
www.udiscovermusic.com/stories/flute-in-rock-music/Small But Mighty: When the Flute Flew High in RockHow 70s proggers, blues rockers, and psychedelic popsters put the humble flute out front. Published on January 20, 2021 by Jim Allen When rock’n’roll’s first-generation spread its wings in the 50s, the flute was about as common a presence as a tuxedo at a square dance. But when rock grew up and outwards, from the late 60s through the mid-70s, one of the least imposing instruments found a remarkably deep niche in rock history. Amid all the screeching Stratocasters and wailing Hammond organs, the humble flute flew higher than anyone would have ever expected. The psych-pop explosion In the days of rockabilly and doo-wop, woodwind activity began and ended with the saxophone. But things began to open up a decade later, when the British Invasion eventually led ambitious beat groups on both sides of the Atlantic to go for baroque with classical-influenced chamber-pop arrangements laced with harpsichords, string quartets, and the like, leaving the door open for a slim, silvery interloper in the realm of rock. When rock’n’roll’s first-generation spread its wings in the 50s, the flute was about as common a presence as a tuxedo at a square dance. But when rock grew up and outwards, from the late 60s through the mid-70s, one of the least imposing instruments found a remarkably deep niche in rock history. Amid all the screeching Stratocasters and wailing Hammond organs, the humble flute flew higher than anyone would have ever expected. The psych-pop explosion In the days of rockabilly and doo-wop, woodwind activity began and ended with the saxophone. But things began to open up a decade later, when the British Invasion eventually led ambitious beat groups on both sides of the Atlantic to go for baroque with classical-influenced chamber-pop arrangements laced with harpsichords, string quartets, and the like, leaving the door open for a slim, silvery interloper in the realm of rock. In 1965, mournful flute lines colored The Beatles’ melancholy “You’ve Got to Hide Your Love Away” blue, and where The Beatles led, legions were sure to follow. Over the next year and a half, the flute found its way into “Walk Away Renee” by New York baroque-pop trendsetters The Left Banke, The Rolling Stones’ “Ruby Tuesday,” The Association’s “Along Comes Mary,” and several songs on The Beach Boys’ milestone Pet Sounds Still, the inroads the instrument was making at this point were always in the context of orchestrations supplied by outside musicians, even if they were sometimes at the behest of the band. But as chamber-pop gave way to full-fledged psychedelia by the second half of 1967, things began to change. And the influence didn’t all come from the classically influenced end of the spectrum. Sure, you had people like Jean-Pierre Rampal emerging as a superstar flautist from the classical world. (Though it’s worth noting that by 1968, even Rampal would be opening up his mind and recording with Ravi Shankar). But by the 60s, jazz had long since become a haven for hip flute players. Herbie Mann, Yusef Lateef, and Rahsaan Roland Kirk had all proven a flute could cut it in front of a jazz band, and they, in turn, influenced the next crop of rock flautists. On one end of the spectrum, players like Ray Thomas of The Moody Blues were clearly modeling their approach to the flute after the classical side of things. In their early incarnation, the Moodies were an R&B band, and on their 1965 debut album, multi-instrumentalist Thomas’s flute appears on only one track. But when the band shifted to conceptual psych-pop suites in 1967 on their trailblazing Days of Future Passed, Thomas’s flute playing was front and center, especially on the immortal “Nights in White Satin,” which features one of the most famous flute solos in rock history. Bringing flute to the forefront On the other side of the tracks was Ian Anderson, who would become famous for elevating the flautist role to full-on rock-star status when Jethro Tull embraced prog rock in the 70s. He came from a jazz/blues background, and was heavily influenced by Roland Kirk’s quirky style of over-blowing, where the player’s voice becomes a part of the sound. In fact, Tull’s ’68 debut, This Was, includes a version of Kirk’s “Serenade to a Cuckoo.” Chris Wood, who played both sax and flute for Traffic, previously played in jazz/blues band the Steve Hadley Quartet. On Traffic band’s 1967 debut album, Mr. Fantasy, Wood’s flute helped psychedelic vehicles like “Dealer,” “Giving to You,” and “No Face, No Name, No Number” achieve liftoff. His flute contributions became even more crucial when Traffic turned to folk-rock for 1970’s John Barleycorn Must Die (check his solo on the title tune) and opened up the door to jazzy prog on their subsequent albums. Stateside, New Yorkers The Blues Project were busy bringing the flute to the forefront in a jazzy/bluesy way too. Their first album, 1966’s Live at The Café Au Go Go, was mostly blues-rock, with no woodwinds in sight. But on the eclectic follow-up, Projections, bassist Andy Kulberg started showing off his flute skills on tracks like the folk-flecked ballad “Steve’s Song” and, most memorably, the simmering instrumental “Flute Thing.” The latter was performed by the band at the epochal Monterey Pop Festival in 1967 and conspicuously sampled by the Beastie Boys for “Flute Loop” from their 1994 album, Ill Communication. Similarly, on the opposite coast, Canned Heat had established themselves as hardcore blues blasters on their first couple of LPs. But when they decided to open things up a little on their third album, 1968’s Living the Blues, they drafted Jim Horn to fill “Going Up the Country” with the sunny flute riffs that helped make it the band’s biggest song ever. Its prominent placement in the Woodstock documentary made it a hippie anthem forevermore. After British blues-rock pioneer John Mayall, broke with his legendary Bluesbreakers, he revamped his sound and moved in an unplugged direction for The Turning Point. It was recorded live at New York City’s Fillmore East in 1969 with a new, acoustic-based band that featured John Almond on woodwinds. The single “Room to Move,” edged along by Almond’s flute, became an FM radio staple and the album was Mayall’s most successful one ever in the US. By 1970, Almond and singer/guitarist Jon Mark splintered off from Mayall’s band to concoct a heady mix of folk, jazz, rock, and R&B as Mark-Almond, with the flute remaining crucial to the mix. The prog push The ball that Traffic, Tull, and others started rolling at the end of the 60s achieved escape velocity in the first half of the 70s as prog rock soared through the stratosphere, combining psychedelia’s taste for adventure with knuckle-busting chops and conservatory-grad sophistication. It was here, perhaps more than in any other scene under the rock umbrella, that the flute found a home. Long before achieving iconic solo status, Peter Gabriel made his flute an integral element for Genesis, one of the earliest and most influential prog bands, weaving it into genre-defining epics like 1971’s “The Musical Box” and the following year’s sprawling suite “Supper’s Ready.” When Camel became prog rock royalty in England via 1973’s delicately melodic, mostly instrumental The Snow Goose, guitarist Andrew Latimer’s flute was there to help flesh out the album’s nuanced textures on tracks like the prettily pastoral “Rhyader.” The blend of prog complexity, jazzy flow, and offbeat humor that came to be known as the Canterbury school found a slot for lots of flute work too. No two bands were more emblematic of the movement than Caravan and Soft Machine – Jimmy Hastings, brother of Caravan frontman Pye, laid some luminous flute lines into Caravan cuts like 1971’s “Golf Girl” and 1973’s “Memory Lain, Hugh/Headloss,” and still found time to pitch in on a couple of early-70s Soft Machine classics. Bringing things back to the bop influence, Frenchman Didier Malherbe’s madly swinging flute lines were an essential element of Gong’s giddy, fusion of Canterbury and space rock, coming to the fore on cuts like 1973’s lovably loopy “Oily Way.” For all the aforementioned jazz influences on Ian Anderson’s flute playing in the early years of Jethro Tull, his urgent blowing on evergreens like “Locomotive Breath” ultimately defined the instrument’s role as a true rock axe. Just as his raised-leg stance during his onstage solos became part of the classic-rock firmament, so did his adrenalized licks, as Tull became globe-trotting arena-fillers on the strength of concept albums like Aqualung and Thick as a Brick. Elsewhere on the continent, Focus became one of Holland’s most in-demand musical exports, thanks in major part to the glorious wig-out that is “Hocus Pocus.” Shifting at a breakneck rate between screaming guitar riffs, comic-operatic falsetto, and keyboardist Thijs Van Leer’s manic, Roland Kirk-inflected flute jabs, the uncategorizable track became an international hit. But Van Leer wasn’t just a court jester. He contributed lyrical flute lines to elegant instrumentals like Focus’s first single, “House of the King,” which would be employed as a theme for British TV shows for years to come, most recently the Steve Coogan comedy Saxondale. Other instrumentalists who’d previously been shunted to the shadows got a chance to strut their stuff in the 70s as well. A hardy handful of electric violinists had their day. Newly emboldened keyboardists gleefully elbowed lead guitarists aside when keytars came on the scene. But in terms of underdog status, before the sea change of the 60s, nobody’s odds of ever nabbing a slice of the rock spotlight looked lower than flautists. In the words of the immortal rock’n’roll bard, Chuck Berry, “It goes to show you never can tell.”
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Post by maddogfagin on Mar 6, 2021 13:03:56 GMT
"The best damn cup of coffee this side of twin peaks." Or so a patron of the Flute Center once told me. I think he may have been referring to the Starbucks emporium, above which the Flute Center soars as if on wings of 950 silver or even 23.5 ct Galway Gold. The main difference between the Flute Center and the Seattle boys below is, as I see it, that Phil Unger pays his taxes. Starbucks, on the other hand, like Google, Facebook and Apple, have a different strategy. Perhaps they are saving up all the resultant low-tax revenues to bestow in their noble philanthropy upon the sad people of Syria or to help with the next tsunami aftermath. So, with the benefit of the doubt, make mine a extra-frothy Nagahara Latte with a twist of Powell and, on the side, some sparkling gluten-free Muramatsu double-filtered Mt Fuji H2O. Toss in a hi-fat, triple-cooked smoky bacon Haynes croissant for Phil who looks like he needs the protein and dodgy-lipids hit. Then - off you go upstairs bearing these bountiful gifts to try out the peace-pipe of your dreams. Whether a vintage Louis Lot or the brand new Sankyo International Space Station Orbiting Flute replica special edition. Cut a deal. Don't be afraid to ask. "You want $32,500 for the sexy Swarovski-crowned Galway Cocktail Lounge Bling Nag? Hell, why don't we just round it up to $35K and the next Starbucks is on you, Phil." Ian Anderson Jethro Tull Wit and Raconteur jethrotull.com/ian-anderson-bio/link
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Post by maddogfagin on Apr 9, 2021 6:37:24 GMT
Ian Anderson 380 views•March 16, 2021
Flute Unscripted 581 subscribers
See Ian Anderson discuss his relationship with the flute over the years and his plans for the future of live music.
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Post by maddogfagin on May 18, 2021 6:23:13 GMT
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Post by maddogfagin on Jun 7, 2021 6:09:44 GMT
Flutist Reacts to Jethro Tull - Songs from the Wood (Madison Garden Square 1978) 7,903 views•June 3, 2021 Heline Reacts
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Post by maddogfagin on Jun 20, 2021 7:43:41 GMT
Flutist reacts to PFM & Ian Anderson (from Jethro Tull) - Bourree 3,422 views•June 17, 2021
Heline Reacts 2.05K subscribers Ian Anderson from Jethro Tull is collaborating with PFM, an Italian prog band!
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Post by maddogfagin on Jul 7, 2021 5:55:44 GMT
Flutist Reacts to Jethro Tull - Cross-Eyed Mary 7,308 viewsJul 1, 2021
Heline Reacts
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Post by maddogfagin on Jul 10, 2021 6:26:57 GMT
Flutist reacts to Tinkara feat. Ian Anderson (from Jethro Tull) - Place 2 B 1,981 views July 8, 2021
Heline Reacts
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Post by JTull 007 on Aug 16, 2021 0:51:54 GMT
Flute Center of New York presents Flute Unscripted with Caity Massoud, featuring Andrea Griminelli LINK 1 LINK 2
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Post by JTull 007 on Aug 17, 2021 21:33:36 GMT
CHECK IT OUT ... Andrea Griminelli !!!
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Post by maddogfagin on Sept 1, 2021 16:02:36 GMT
Steamhammer - When All Your Friends Are Gone (1969) Steamhammer was an English blues rock band from Worthing, England, whose origins were with the blues. The band was founded in 1968 by Martin Quittenton (guitar) and Kieran White (vocals, guitar, harmonica). The first stable line-up consisted of Quittenton, White, Martin Pugh (guitar), Steve Davy (bass), and Michael Rushton (drums).
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Post by maddogfagin on Oct 22, 2021 8:56:58 GMT
torontosun.com/news/local-news/flute-playing-driver-hits-the-wrong-notes-with-burlington-copsFlute-playing driver hits the wrong notes with Burlington policeAuthor of the article:Jane Stevenson Publishing date:Oct 21, 2021 • 15 hours ago A flute that a man was playing with driving in Burlington, according to police. PHOTO BY HRPS BURLINGTON /TwitterWonder if it was Zamfir or Jethro Tull? Officers in the Burlington division of Halton Regional Police were conducting distracted driving enforcement on Thursday when a male driver was pulled over. The officer thought the driver was using his cellphone — but it turns out he was playing the flute with both hands while listening to his iPod and driving at the same time. The mind boggles. “Charged!!” said HRPS Burlington on Twitter. “ #FlutesAndDrivingDontMix.” HRPS Burlington @hrpsburl Traffic officer was conducting distracted driver enforcement today and was expecting a cell phone from this driver. A little surprised to find the driver playing his flute with both hands and following along to an IPod while driving!Charged!!#FlutesAndDrivingDontMix ^mb
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Post by Equus on Oct 23, 2021 6:22:48 GMT
torontosun.com/news/local-news/flute-playing-driver-hits-the-wrong-notes-with-burlington-copsFlute-playing driver hits the wrong notes with Burlington policeAuthor of the article:Jane Stevenson Publishing date:Oct 21, 2021 • 15 hours ago A flute that a man was playing with driving in Burlington, according to police. PHOTO BY HRPS BURLINGTON /TwitterWonder if it was Zamfir or Jethro Tull? Officers in the Burlington division of Halton Regional Police were conducting distracted driving enforcement on Thursday when a male driver was pulled over. The officer thought the driver was using his cellphone — but it turns out he was playing the flute with both hands while listening to his iPod and driving at the same time. The mind boggles. “Charged!!” said HRPS Burlington on Twitter. “ #FlutesAndDrivingDontMix.” HRPS Burlington @hrpsburl Traffic officer was conducting distracted driver enforcement today and was expecting a cell phone from this driver. A little surprised to find the driver playing his flute with both hands and following along to an IPod while driving!Charged!!#FlutesAndDrivingDontMix ^mb Playing the flute is of course very important, but staying alive is important too... and the lives of other are also very important...
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Post by maddogfagin on Nov 16, 2021 7:13:21 GMT
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Post by jackinthegreen on Nov 16, 2021 13:11:45 GMT
It doesn't say it was actually Ian's flute......and I am 100% sure it wasn't ever Ian's flute, but more likely a fan brought a flute along to a gig and Ian signed it. It's a bit misleading perhaps. Now if Ian would sign one of my flutes..magic, but I wouldn't then sell it
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Post by maddogfagin on Dec 13, 2021 18:05:46 GMT
HOLE IN MY SHOE (1967) by Traffic (incredible stereo mix) 2,863,876 views Nov 5, 2009 wilson mcphert 41.5K subscribers
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Post by maddogfagin on Dec 25, 2021 6:47:24 GMT
Flutist Reacts: Jethro Tull - God Rest Ye Merry Gentlemen (live in 2006) 1,446 views Dec 22, 2021
Heline Reacts 3.43K subscribers
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Post by maddogfagin on Dec 30, 2021 6:37:41 GMT
home.nestor.minsk.by/jazz/news/2021/12/2701.htmlJAZZ NEWS Flautist Nestor Torres - New Release "Thank You Willie" - January 17th ReleaseStanding on the shoulders of flute giants from worlds as diverse as Rampal & Galway in Classical Music; Richard Egues' Cuban Charanga style; rocker Ian Anderson's Jethro Tull; Herbie Mann and – most influential of all – Hubert Laws as pioneers of Jazz Flute, Latin Grammy Award winning Nestor Torres' rhythmic and mellifluous flute sound remains apart in a class all by itself. Nestor's 18 recordings as a soloist; 4 Latin Grammy nominations, one Grammy nomination and one Latin Grammy Award; collaborations with diverse artists such as Gloria Estefan, Kenny Loggins, Dave Mathews, Herbie Hancock, Tito Puente, Michael Camilo, Paquito D' Rivera and Arturo Sandoval; as well as performances with the Cleveland, Singapore, and New World Symphony Orchestras among many others, are testament to the remarkable journey of an Artist who continues to grow and enrich the lives of those who experience his talents.
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Post by maddogfagin on Jan 11, 2022 6:57:35 GMT
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Post by maddogfagin on Jan 18, 2022 9:28:22 GMT
www.broadwayworld.com/bwwmusic/article/Flautist-Nestor-Torres-Releases-Thank-You-Willie-20220117Flautist Nestor Torres Releases 'Thank You, Willie'Torres is a Latin Grammy® Award winner and Multi-Grammy® nominee. by Michael Major Jan. 17, 2022 Standing on the shoulders of flute giants from worlds as diverse as Rampal & Galway in Classical Music; Richard Egues' Cuban Charanga style; rocker Ian Anderson's Jethro Tull; Herbie Mann and - most influential of all - Hubert Laws as pioneers of Jazz Flute, Latin Grammy® Award winning Nestor Torres' rhythmic and mellifluous flute sound remains apart in a class all by itself. Nestor's 18 recordings as a soloist; 4 Latin Grammy® nominations, one Grammy® nomination and one Latin Grammy® Award; collaborations with diverse artists such as Gloria Estefan, Kenny Loggins, Dave Mathews, Herbie Hancock, Tito Puente, Michael Camilo, Paquito D' Rivera and Arturo Sandoval; as well as performances with the Cleveland, Singapore, and New World Symphony Orchestras among many others, are testament to the remarkable journey of an Artist who continues to grow and enrich the lives of those who experience his talents. A Puerto Rico native, Nestor Torres moved to New York City as a teenager to study at the Mannes School of Music and later at the New England Conservatory in Boston. It was during these formative years that Torres, while playing in Latin bands, learned to improvise in a style of Cuban Music called "Charanga", which shaped and developed Torres' melodic and danceable sound. As a speaker and Ambassador of Culture and Peace, Nestor Torres has joined Deepak Chopra in Medellin, Colombia; in Costa Rica he met with Nobel Peace Prize Laureate President Oscar Arias, in Jordan with HRH Prince El Hassan bin Talal, and was also commissioned to compose and perform a piece for the Dalai Lama. In the last four years Nestor has released two well received classical albums and a very well- reviewed and selling jazz album titled "Jazz Flute Traditions". "Thank You, Willie" was produced/co-written by Multi-Grammy® & Emmy nominee Greg Manning whose credits include: Jonathan Butler, Gerald Albright, Brian McKnight, Deniece Williams, Kirk Whalum, Dave Koz, Herb Alpert and more.
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Post by maddogfagin on May 16, 2022 11:53:08 GMT
How to Play the Flute in the Style of Jethro Tull! Excerpt from Cross Eyed Mary 11 views May 16, 2022
Khashayar Ghazianzad
438 subscribersI'm just sharing my passion and enthusiasm for playing the flute in the style of Jethro Tull that was really brought to prominence by Ian Anderson and his tremendous skills.
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Post by ash on Nov 24, 2022 10:03:57 GMT
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Post by JTull 007 on Jan 29, 2023 1:44:56 GMT
LOT #1315: LINK Jethro Tull’s Ian Anderson Signed Flute With Case As hard as it may be to envision the combination of the world of rock with the lilting tones of the flute, Jethro Tull did so in spectacular fashion, thanks largely to talented frontman Ian Anderson. The multi-talented musician has offered his signature in black Sharpie on this Heimer flute, which comes un-assembled in its black case. While the flute does bear a couple of dents and shows some use, this is a great chance to have a memento signed by a multi-platinum performer and rock innovator. Autograph comes with Letter of Authenticity from JSA.
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