June 2010 Jethro Tull North American Tour (video)

Last night in Boca Raton. (video)
http://thejethrotullboard.proboards.com/index.cgi?action=display&board=tullvideo&thread=1118&page=1
2010 North American Tour
http://thejethrotullboard.proboards.com/index.cgi?action=display&board=tours&thread=1112&page=1
US Tour 2010
http://jethrotull.proboards.com/index.cgi?action=display&board=tour&thread=916&page=1
June
4 Boca Raton, FL Mizner Park Amphitheater - tickets
6 Atlanta, GA Chastain Park Amphitheatre - tickets on sale March 27th
8 Vienna, VA The Filene Center - tickets
10 Ledyard, CT Foxwoods Resort Casino - tickets
11 Wantagh, NY Nikon at Jones Beach Music Theater - tickets
12 Atlantic City, NJ Caesar's Atlantic City - Circus Maximus - tickets
13 Holmdel, NJ PNC Bank Arts Center - tickets
15 Boston, MA Bank of America Pavillion - tickets
17 Canandaigua, NY Constellation Brands Marvin Sands Performing Arts Center - tickets
18 Toronto, Canada Molson Amphitheatre - tickets
19 Windsor, Canada Caesars Windsor - The Colosseum - tickets
20 Highland Park, IL Ravinia Pavillon - tickets
http://www.j-tull.com/tourdates/index.html
Q&A: Jethro Tull's Ian Anderson Speaks Before The Mizner Park Show
http://blogs.browardpalmbeach.com/countygrind/2010/06/qa_jethro_tulls_ian_anderson_mizner.php

 

Poor neglected Tull bump. haha



http://blogs.browardpalmbeach.com/countygrind/2010/06/qa_jethro_tulls_ian_anderson_mizner.php
More...Q&A: Jethro Tull's Ian Anderson Speaks Before Tonight's Mizner Park Show - By Lee Zimmerman, Friday, Jun. 4 2010

After more than four decades, numerous personnel changes, and a musical trajectory integrating blues, rock, prog, folk, classical, and practically every other genre either straddling or circumventing pop's progress over the past 40 years, Jethro Tull's Ian Anderson has remained the band's leader and musical mainstay.

His iconic image as the wild-eyed ruffian balancing precariously on one leg became, in the minds of many, the quintessential model of English eccentricity, a role Anderson assumed early on. "It obviously served the band very well as an identifying feature and a kind of logo," Anderson reflects. "But over the years, it became reinforced to the point where a lot of people don't know I actually have a real name. They think my name is Jethro Tull."

Speaking with New Times from his London office, Anderson took time from a busy day preparing for Tull's latest American jaunt to share his thoughts on both the band and the times in which they dwell. After the jump, an extended Q&A featuring questions we couldn't fit in the print edition.

New Times: What can we expect from a Jethro Tull concert nowadays?

Ian Anderson: We have our flexible repertoire that we play in concert, but some of it we won't be playing in June in America because it's not appropriate for an audience that are drinking and smoking and generally looking for an upbeat experience. The music we play in different countries of the world is a little more esoteric and adventurous and not just the familiar songs Jethro Tull is expected to play. Playing outside of the mainstream of musical styles is harder for us in the U.S. in the summer when we go out as Jethro Tull. That's why I play more concerts in America as Ian Anderson, because I can play performing arts centers and I can be a little more adventurous in my musical repertoire.

So what is the divide between Jethro Tull and Ian Anderson?

The divide is very simple. Its whether or not I can get through a show without being shouted down by drunken lads. Frankly that's the reality, and its not only in the U.S., but also in other countries of the world where hooting and shouting is considered to be the norm. And frankly, that's the difference. When I do a show as Ian Anderson, the louts tend to stay home. When it's Jethro Tull, it's an outdoor show and even when it's an indoor show its going to be a much rowdier affair.

It seems that "Aqualung" and "Locomotive Breath" are the inevitable show-stoppers that everyone waits for with bated breath.

I don't have a problem playing those. They're good songs. I'm always happy to play them in concert because they're two of my best songs actually. Both of them are quite relevant in terms of the subject material. They're not about leaving my heart in San Francisco. They're not about some cultural moment in history. They're about issues rather than just love songs ... One is about homeless people and you still see them on the streets of New York and San Francisco and Washington and the other is about the relentless surge of ever more people jumping on the ride to nowhere. They're very contemporary issues in terms of population growth, immigration, all the issues that if they're not on people's lists, they're in people's lives. I tend to think nothing of immigration. I frankly don't really mind too much who my neighbors are - what color they are or what their religion is - I just mind how many of them there are.

Do you really think people hear those two tunes as message songs, or are they relating instead to the killer riffs and refrains?

I think that's always something you have to be aware of... that people listen to songs in different ways. There are those who hear the sound of the words, the emotion behind the words, rather than what they actually mean. But I don't think I'm a heavy writer at all. I'm a little leery of people who pour over the nuances and detail of lyrics, because I think it's easy to get too caught up in trying to figure out what really lies behind and inside the mind of the person who's writing the songs. That's a dangerous thing to assume.

What draws you to the music you currently enjoy?

There's a lot of foreign language music that I actually like, but I have no idea what the people are actually singing about. If I don't understand the words, I can still appreciate the emotions of the words and the melodies. I can enjoy listening to Finnish folk music or good Bollywood music, even though I have no idea what they're singing about at all. I probably listen to that more than I listen to music sung in English because frankly the words are mostly so appalling in terms of most rock and pop music. It's really repetitive and dreary and limited in terms of the vocabulary.

Did you know that Aqualung was appropriated for both PlayStation and Rock Band?

I have no idea. I don't do video games. Usually they seem fairly harmless. I'm quite circumspect about authorizing my music for violent video games of the shoot 'em up variety. I don't mind if they're vaguely musical or somewhat educational - giving these people a little bit of an opportunity to have a little bit of creative input into the musical world is okay I guess.

How did you come up with that indelible riff?

The irony is that the riff actually began with me playing it on an acoustic guitar in a hotel room in the USA back in 1970 (Sings "da da da da dah dum") and having been played on an acoustic guitar doesn't have a lot to do with the way it's been perceived. It became one of those big electric moments.

Tull's had several archival video releases lately. When you watch these, do they put you back in the moment or does it become a detached observation?

I'm often surprised as to the degree to which I really can identify with the moment. It is quite surprising, the little things that you do remember about particular concerts. You may not remember if out of the blue, but if you happen to see them on video or film or a TV recording or happen to hear a live recording from the early days, it does tend to sound frighteningly familiar. Generally speaking there's not a huge dissociation because I'm quite cognizant onstage. I don't drink or take drugs or whatever it is... except, um... once in my life I walked onstage not entirely focused shall we say, having imbibed a bottle of cheap chardonnay before I went on. But the reason I did it was because I had just heard that Frank Zappa had died and I was really quite upset about it because a few days before I had a message to call him and I didn't and I really, really felt bad about it so I drank some wine. And then I drank some more wine and then I realized 'holy ****, I shouldn't have because I don't feel very well...' But that's about the only occasion I can remember drinking. I think in the mid '70s I'd have a bottle of beer and sort of sip it either during the show or between when there was a lot of drum solos going on. Still, that was something I think I always felt a little bit nervous about, because you're aware if you do drink a bottle of beer... you could feel a certain loosening up. It might be okay if it's after dinner or in a bar somewhere, or sitting with a few friends. But if you're in a formula one race car or playing professional football or you're doing a rock concert, then you're aware that feeling good doesn't necessarily equate with playing well. So I've always tended to be sober and pretty much focused onstage and with a sense of alertness and heightened awareness of what's going on. So it's logical that I would remember all that stuff... or at least a lot of it.

Early on, when you portrayed a kind of cartoon character in the long bathrobe standing on one leg, was that an attempt to make you the personification of the band's image?

It was deliberate attempt on the part of our manager, Terry Ellis, and our record company, but at that point I wasn't all that comfortable with it because I was trying to stretch the boundaries of the band as a band. It became more and more a case of the focus being put on me as the front man and I was doing all the interviews and all the media stuff, and so it became all about me standing on one leg playing the flute. And (guitarist) Martin Barre and (drummer) Doanne Perry were considered my side men.

At what point did you know that Tull had definitively broken through and the band had attained mega-stardom? Was Aqualung the defining measure?

I think that the real watershed was after the Benefit album, because by then we had become quite well known in most countries of the world where we had played concerts on our own or as a headline act. I can remember at the end of recording Aqualung, at like seven o'clock in the morning when we finished the last mix at Island Studios on Basing Street, sitting with (then keyboardist) John Evans and saying, "That's it, we're done, and this one is either going to make us or break us in terms of fame and fortune, or else we've gotten as far as we're going to get and this one's going to be a relative failure and we'll be in a slow decline." I thought it was kind of a watershed album really, but being as it was new to the concept album concept and had some songs that were about stuff, rather than just love songs or whatever, we weren't sure how it was going to go down. And it wasn't that it was an enormous hit straight off, but it was a strong seller and has remained so for many years since. About ten years ago, it was up to about 12 million and I would guess it's sold a few since then, and I'm grateful that it's linked forever to the name Jethro Tull. Most people would say that's the thing they think of at the heart of Jethro Tull's career and repertoire, and interestingly it has quite a lot of songs that are just acoustic guitar and voice with a little decoration. It's not at all an all-out rock album by any means."

What are your audiences like these days?

That's a little difficult to tell. When we're playing a concert in Italy or whatever we'll expect to see a lot of audiences in their teens and early twenties. It seems that most of the people you see at these outdoor gigs are a lot younger. But what they see in us I don't quite know. Whether they see us as a generic classic rock band or whether they really do know specific songs and specific albums, I don't know. It may be that they've grown up with this stuff because that's what their parents listened to. Maybe they discovered the music early on in their preteen years. I think there are a lot of people who come to see Jethro Tull who might also go to see Deep Purple or any one of several classic rock bands from the early late '60s, early '70. It's an era then that clearly has quite a lot of authority and musical history.

Jethro Tull's history dates back some 42 years. How has Tull managed to adapt to a 21st century world?

Well, obviously times have changed dramatically and Jethro Tull's music has evolved from the blues in 1968 through the more progressive rock, folk rock and whatever the hell definitions have been applied over the years. But most of that evolution took place in a very free and creative time for young musicians that were working in the UK and the USA in particular. Of course these days, classic rock music is still on the radar because all the bands who played that music in the '70s and '80s and whatever are around playing concerts today. So it's still part of people's lives and still gets played on those blue comfort blanket radio stations in the USA.

How would you compare the world the band came up in with the way things are now, at least as far as the music biz is concerned?

Of course, it's a different world now and the major difference is that the music industry tends to be much more constricted. Physical product is very repetitive and while the haircuts change, the music stays very much the same. The more cutting edge rock music doesn't have much of an outlet compared to the massive preponderance of online access to music, but so much of the music that's downloaded in the world isn't paid for. So it's a pretty bleak future when it comes to making a living at it, let alone making any substantial level of income... unless you get to the stage where you can command good fees for performing live. Bit if you aren't going to sell records, you're not going to get the gigs and vice versa. So its difficult to break through. Musicians don't get the breaks and the kind of opportunities that musicians got 30 or 40 years ago. It's a tough life for young musicians and for those of us who are growing old and still performing, we look back on our early careers with a sense of good fortune at having been there at a time when you could actually achieve these things and you could achieve them on your own terms without the pressure of whatever people considered commercial.

 

I have seen Tull many times over the years but unfortunately the shows have become too predictable and much shorter as well as Ian's voice failing.
We were going to attend the show last night in Atlanta(especially to see Ian Hunter) but rain was predicted.
Here are a couple of videos I shot in Mobile in 2007...


http://www.youtube.com/watch?v=_Uos3-OJZkY

http://www.youtube.com/watch?v=IWkcG6JL6lg

 

Thanks for the inteview, tootull! As always a most interesting interviewee that IA! I was not aware of the Zappa-message-not-replied-to incident. I really wonder what that message might have been... AFAIK, Zappa had always been EXTREMELY selective with regard to his favorite prog picks, and not particularly kind to the canons of the genre in general... Maybe it's the sea shantee thing. Anderson's music often sounds like sea shantees, and Zappa had always been a fan of that.

 

Anyone have any video of their great opening act????

 

http://www.washingtonexaminer.com/l...Tull-set-to-play-Wolf-Trap-show-95795849.html

Hey, Aqualung: Jethro Tull set to play Wolf Trap show
By: Robert Fulton
Special to the Washington Examiner
June 8, 2010

A funny thing learned during a phone interview with Ian Anderson, the lead singer of Jethro Tull: If music had not worked out for him, he would have explored a job in the police force, forestry or as an actor.


Jethro Tull with Procol Harum

Where: Wolf Trap Filene Center

When: 7:30 p.m. Tuesday

Info: $45 in-house, $30 lawn; wolftrap.org

Luckily for lovers of rock 'n' roll, the music thing worked out.

Anderson and the rest of Jethro Tull perform at Wolf Trap on Tuesday.

"You can hide yourself a bit in the music," Anderson said from England the day before departing for the band's current month-long North American East Coast tour. Anderson has always been interested in acting, but prefers the comfort of music. "You're in your own world. Being in a band gives you that illusion. You don't feel exposed in quite the same way. For periods of time, you're not aware of the audience. You have to concentrate on what you're doing."

Anderson will keep busy this summer. After playing a number of Jethro Tull dates, he plans on some solo shows. While he enjoys the theatrics of a live rock show, Anderson prefers the more attentive, intimate settings of his solo performances.

"It's a more listening audience," he said. "More of a sympathetic audience."

Founded more than 40 years ago, the British group Jethro Tull is probably best known as that band with the flute player (Anderson). The music ranges anywhere from hard rock to folk, and hits include "Aqualung" and "Thick as a Brick."

"My longevity is just perseverance," Anderson said of his long career.

It's notable that Jethro Tull's last studio album of all original work came in 1999.

"I think those days are not going to come back," Anderson said. "The world we live in, that doesn't happen any more. Those days are long gone. It's a different world we live in."

Anderson doesn't see the opportunities for younger artists that he had at the peak of Jethro Tull's popularity, which includes five platinum albums and more than 60 millions records sold. Music is consumed and promoted in a different way than it was 20 or 30 years ago.

"It doesn't worry me. I just have fun going out and playing shows," Anderson said. He's mostly concerned with younger artists getting a fair shake. "They won't have the opportunity to achieve the levels of success. People took it for granted. Those days we'll never have again."

While recording ambitious full length albums may no longer be in Jethro Tull's future, there's always the live show, something Anderson relishes.

"You can't digitize live entertainment," he said. "It doesn't work."

 

Art: Jethro Tull at Mizner Park Amphitheater by Iron Forge Press
http://blogs.browardpalmbeach.com/countygrind/2010/06/art_jethro_tull_at_mizner_park.php

 

theyre not coming anywhere near pittsburgh oh well too bad

 

Saw them at Chastain on Sunday. Still very entertaining in a "vegas" (FORMULA) sort of way. Ian has more energy than anyone has the right too at his age. Their set is chock full of Classics from This Was through Songs From the Wood. They did play a new song called Changing Horses that was very good.

Although the sound for Ian Hunter left a lot to be desired, the vocals were all but burried, he did a number of tracks from his new album Man Overboard that were excellent. The show was light on Mott material only All The Way from Memphis, Roll Away the Stone and Sweet Jane. It's wasn't a bad performance but more suitable to a club.

 

Thanks, TommyTunes



"Very interesting!" or begging for a sell out: I wonder?

http://www.ibtimes.com/prnews/20100...ro-tull-to-play-in-berlin-on-22-july-2010.htm

 

http://www.j-tull.com/news/updates.html

Anderson solo dates announced for Oct-Nov in Canada and U.S.
http://www.j-tull.com/tourdates/index.html#anderson

OCT
14 Montreal St. Denis Theatre - tickets
15 Québec Le Théâtre Capitole - tickets
23 York, PA Strand-Capitol Performing Arts Center - on sale July 6th
24 Jim Thorpe, PA Penn's Peak - tickets
26 Munhall, PA Carnegie Library of Homestead - tickets
NOV
12 Orlando, FL Hard Rock Live @ Universal Studios Orlando - on sale June 11th
18 Northampton, MA Calvin Theatre & Performing Arts Center - on sale June 11th

 

Ian Anderson of the British rock group Jethro Tull, shown performing in Switzerland in 2008, calls the dwindling revenue from albums “something of a tragedy,” especially for young artists.
AP / URS FLUEELER http://www.projo.com/music/content/wk-pop10_06-10-10_2SIOG34_v11.51bb1cb.html
Thursday, June 10, 2010

With more than 40 years of songs to pick from, how the heck does Jethro Tull put together a set list that doesn’t stretch out for six hours?

Frontman-flautist Ian Anderson says it takes research. The band keeps a record of what they play in which venues, and he searches the files to see what they played the last time they were in a certain country (sometimes even a certain city) and varying it. “Even between now and tonight,” he says over the phone from a tour stop, “I’ll have to go back and see what it is I played last time I was in Boca Raton and make sure there are not too many conflicts with most of the songs we intend to play on most of the tour.”

Along with the usual standards such as “Aqualung,” “Locomotive Breath” and more, the show always includes “repertoire pieces from the deep catalog . . . making sure that it’s at least 60 percent, maybe 80 percent, different material to the previous occasion” along with at least a couple of new, unrecorded songs — all without making radical night-to-night changes that would be too hard an adjustment for the sound and light crews.

And for the foreseeable future, the concerts are the best place to hear new Tull music. Asked whether any new recordings are in the works (the last new studio record was 2003’s Christmas album), Anderson is blunt: “We won’t get paid, so it’s a pretty low priority.” Musicians’ incomes from recording are about 5 percent of what they were before the digital age, Anderson estimates, and recording costs are high, especially for a band like Tull, whose members live in different parts of the world.

It’s “a constant whittling away” of income, Anderson says. “It’s something of a tragedy — not really for an old face like me, who’s made a ton of money back when; it’s a tragedy for young artists who have to struggle.” He sees the new model as “a new song every couple of months that [fans] can download.”

But until he gets that together, the stage is the place where the creativity happens.

“That’s one of the key things about most of our career: we’ve always presented one or two things in a show that people can’t possibly have heard. It’s not to be confounding them or worrying them or presenting them with a pee break; it’s presenting them with the kind of challenge that we face, to renew our sense of energy and intellectual inquiry in making new music.”

And while it’s often considered confusing to confront people with music they haven’t heard before in a live situation, Anderson thinks quite the opposite. “Certainly it’s better than sitting and listening to it with your iPod on a bus journey or the commuter train or your car with all the traffic noise and wind noise. . . . The ease with which you can have it with you at all times means that you’re hearing music a lot. But listening to it? Hardly at all.”

Jethro Tull plays at the MGM Grand at Foxwoods Thursday night at 8. For tickets, call (866) 646-0609 or go to www.mgmatfoxwoods.com.

 

http://www.atlanticcityweekly.com/a...music/A-New-Day-for-Jethro-Tull-95971804.html

http://www.examiner.com/x-45793-Chi...-yearsworth-of-Thoughtful-Music-by-Lisa-Torem

 

Concert Review: Jethro Tull at Wolf Trap
http://communities.washingtontimes..../jun/10/concert-review-jethro-tull-wolf-trap/


Bungle at the CMAC: Jethro Tull's coming to town
http://www.mpnnow.com/entertainment/x1932556114/Bungle-at-the-CMAC-Jethro-Tulls-coming-to-town

 

Ian Anderson brings Jethro Tull to New Jersey for two shows
Published: Friday, June 11, 2010, 12:21 AM Updated: Thursday, June 10, 2010, 3:27 PM Tris McCall/The Star-Ledger
http://www.nj.com/entertainment/music/index.ssf/2010/06/ian_anderson_brings_jethro_tul.html

 

Me and my Old Lady see 'em next tuesday.

 

Ian comes off as being an old crab *** in this quote. He needs to remember that those rowdy drunks made him a millionaire.

 

I'll be at the Jones Beach NY show tonight. The place is far from sold-out so I'll pick up tickets at the box office for cheap ($25).
I'm actually really looking forward to hearing Procol Harum tonight.
Should be a beautiful evening outdoors near the ocean.

 

Jethro Tull takes a progressive turn toward folk Tris McCall/The Star-Ledger
Published: Tuesday, June 15, 2010, 12:38 AM Updated: Monday, June 14, 2010, 5:59 PM
http://www.nj.com/entertainment/music/index.ssf/2010/06/jethro_tull_takes_a_progressiv.html

CHIT CHAT: Ian Anderson By Peggy Mullen
The Patriot Ledger Posted Jun 14, 2010 @ 01:15 PM
http://www.patriotledger.com/entertainment/music/x1980745235/CHIT-CHAT-Ian-Anderson

Tull/Procol tour: mad about West Coast concerts 2010
http://www.stevehoffman.tv/forums/showthread.php?t=210625

 

Nice decent videos from ( 6/11/10) Jones Beach Show. Nonfatman/Jeff review:
http://thejethrotullboard.proboards.com/index.cgi?action=display&board=tullvideo&thread=1134&page=1

2010 North American Tour ...more on Jones Beach
http://thejethrotullboard.proboards.com/index.cgi?board=tours&action=display&thread=1112&page=3

 

From his review:

Actually, some people came to see PH, and they thought PH didn't play nearly long enough...

 

Hi, Marvin, point well taken about some people coming to see Procul Harum rather than Tull, however it was clear that they were the support act so you cannot really expect them to play longer than they did, which was about 45 minutes.

From the point of view of a Tull fan, it was very disappointing to see Tull play a 75 minute set consisting of only 12 songs. In thinking back on it, the problem was not really that Procul played too long, but that they started late, at 8:15 p.m. rather than 8:00 p.m., and they went until 9:00 p.m. By the time Tull came on it was 9:37 p.m., which is later than usual. Normally whenever Tull play at Jones Beach the support act starts right at 8:00 and is done by 8:45 p.m., and Tull comes on by 9:20 p.m., allowing for a longer Tull set than what was played the other night. I think Procul didn't come on promptly at 8:00 p.m. because the venue was so empty at that time and, understandably, they didn't want to start playing with hardly anyone in their seats yet. Attendance was quite poor.

Having said all that, I really enjoyed Procul Harum. They had the volume turned up loud the way I like it and Gary Brooker's voice was great!

Jeff

 

OK, cool. I saw Sunday's Holmdel show and Procol started about 7 minutes early but did one extra song (Kaleidoscope). So they may have ended about the same time.

I don't have the exact Tull setlist from either show [edit: I see you have the Jones Beach setlist on that board] but I'm pretty sure it was the same as Jones Beach except they did one extra song (Jack in the Green) and they didn't have the violinist accompany them on Bouree.

 

According to the schedule for Boston tonight, Procol is getting 60 minutes and Tull is getting 100, which should make everybody happy.

 

Thanks for dropping by, Jeff.

Jethro Tull * From the PNC show Sunday night:
http://thejethrotullboard.proboards.com/index.cgi?action=display&board=tours&thread=1112&page=5#6746