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1月6日

Tell-tale Tull

There’s something old boy Ian – he’s 61, is that old? – must remember: that playing Indian and western side by side on stage doesn’t mean it has fused. And that, truth be told, even from the hated critic’s point of view (and anyone who pays can criticise), the tie-up with Anoushka Shankar a week ago, in Kolkata, didn’t really work. Of the Piper and the Princess, as the concert was called, well, the piper prevailed, flute, guitar, tambourine and all.

But the important thing is that Jethro Tull presided. A bespectacled Anderson at 61 is still Ian Anderson, Tull still Jethro Tull, the magic still intact, in fact now vintage, it’s tasting a rare pleasure, and a privilege. The staccato, scratchy sweetness of the steel flute wafting across from the Scottish highlands is almost a picture complete in itself; for the listener from a totally different musical milieu that finds its roots in this sub-continent, it’s like listening to a Braveheart in love, his mosaic beautiful. “…Laughed down by the putting green / I popped down in their holes / Four and twenty labourers were labouring / Digging up their gold…” he goes in their classic Mother Goose. As one gentleman at the show says about Anderson: “He’s Mick Jagger with a flute”. So true. At Kolkata, it was all there, put out to perfection, numbers such as Heavy Horses, Aqualung, Too old to Rock n Roll: Too Young to Die, Mother Goose, Locomotive Breath…

Tull is a major milestone in the journey that rock music has travelled, from the father of Rock ‘n’ Roll, the venerated Charles Edward Anderson “Chuck” Berry (b 1926, the man still gigs) through to its king Elvis (b 1935, d 1977) to what it is now. With Tull, that spectrum of the extraordinary is only broadened, with generous helpings of Scottish and British folk. Add to that the hard drums and the keyboard, the Electric Blues lick, the crazy flute, the dense lines, and the brain and the mind are taken as well.
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