I just read on the website of Jethro Tull that in September a new, yet untitled album is to come. (Source is an Ian Anderson Interview of Acoustic magazine). He announces that a part of the pieces with chamber orchestra, another part of acoustic nature and level of course should be a part tulltypisch. This sounds very promising, and the waiting period of 8 years, is now really been too long, if you take excludes the Christmas Album. Why I bring this news here? Well, I was the first vague description of the new album at Minstrel in the Gallery remembers, even if I certainly do not expect a second part of this brilliant album. The remastering is the origin album done very well from 1975. The title track Minstrel in the Gallery is one of the very strong Tullstücke for me. Here the acoustic part is not woven into the rock, but are located in a song almost opposite. The first two and a half minutes welcomes us the minstrel Ian Anderson only with his acoustic guitar, then allowed to improvise on his electric guitar another two minutes Martin Barre, where he lets it rip really and finally rocking the last 4 minutes of the song the band's initial acoustic theme that a fly's ears. Cold Wind to Valhalla is designed slightly similar to the idea of the song is much shorter, to be applied not as aggressive-hard and much catchier commercially without but. Black Satin Dancer is in a positive sense a ballad with great intensity. Subsequently, two pieces purely acoustic, only Ian and his guitar. One particular white Duck is a beautiful song of the pearl. The original album degree is a musical delight, one of the most überragend Tullstücke ever. It is the almost 17minütige, autobiographical-inspired Baker St. Muse. And especially here, we have the connection to the first description of the new plate - chamber orchestra, a lot of acoustic guitar and tulltypischer rock. Baker St. Muse was probably getting a little too bulky for a concert, I know at least not live recording of it and I myself visit only since the late eighties Tullkonzerte. But bulky or not, this piece is a masterpiece, is thematically of four contiguous parts that were all written under the impression that Ian Anderson was still alive in London. His move to the countryside followed not much later. Songs from the Wood was already in 1977 under this more rustic effect. The recordings for Minstrel in the Gallery emerged at that time in a mobile studio and so Ian Anderson complained later that the recordings sometimes the seriousness of the musicians was missing, because they are said to have had more holiday feelings, I mean to have read that with this recording mobile were somewhere in France. What Ian Anderson wants to make this lack of the plate, but is a mystery to me. Minstrel in the Gallery is the way the last record where Jeffrey Hammond can be heard on bass. About him Ian Anderson once said that he was a real friend in the band. As one might have overlooked also musical weaknesses. He would have been in his own way a good bass player. Reportedly had to practice first before recording the new material for days before he thus dared to strip Jeffrey. After the tour to Minstrel in the Gallery Jeffrey Hammond ended his musical career and turned to his first love - painting - to. He was replaced by John Glascock, who was a musician in the best sense and unfortunately passed away much too early. Three of the bonus tracks were then shots that fell the capacity of a vinyl pressing victim. They are the least inclined fan since 20th anniversary known and worthwhile pieces. Hard to believe that next year is 40th. I hope as well to Unpublished. But first of all I look forward to the new album.
