1. “Thick as a Brick, Part I” – 22:40
2. “Thick as a Brick, Part II” – 21:10

[RS] [MultUp]

…Uma pausa queridos amigos, revejam o dia!!!!!!!!!

FANS of classic rock band Jethro Tull are briefly living in the past thanks to the emergence on the Internet of a clip from a missing edition of Top of the Pops.

A 32-second excerpt from the group’s November ‘69 performance of ‘Sweet Dream’ has been uploaded to YouTube, seemingly originating from an unidentified German documentary.

The clip sees the band, who came to be labelled under the ‘progressive rock’ banner, in fine form with iconic front man Ian Anderson giving a typically manic, one-legged performance on vocals and flute.

This is the first footage to surface from the 13/11/69 edition of Top of the Pops, which was introduced by DJ Alan “Fluff” Freeman and also featured studio performances by Fleetwood Mac (‘Oh Well’), Malcolm Roberts (‘Love Is All’) and The Tremeloes (‘Call Me Number One’).

‘Sweet Dream’ peaked at No. 7 in the UK charts. Of the band’s other TotP appearances, ‘Living In The Past’ from June ‘69 is missing with January ’70’s ‘Witch’s Promise’ existing on colour VT (saved on an engineer’s compilation tape) and b/w telecine, and ‘Ring Out Solstice Bells’ (December ‘76) still retained on colour VT. The September ‘71 edition featuring a promo film for ‘Life’s A Long Song’ is also wiped but happily the promo itself is still around.

Popdose Report:

Click here to go to Popdose to check Van Halen “Take Me Back (Deja Vu)”, Mark Knopfler “Hard Shoulder”, Jethro Tull “Witches’ Promise”, Al Stewart “Rocks in The Ocean”, Quaterflash “Crusin’ With The Deuce”, plus more.

Martin Barre, Brit guitarist for Jethro Tull

Evidently, “The Mouse Police Never Sleeps” in the “Tull“ephone world of Reliance Mobile!

By Don Heckman

Los Angeles

- Nov. 9. (Mon.)  Judy Wexler. Wexler’s briskly swinging vocal style finds a perfect match with the trio of organist Joe Bagg, guitarist Bruce Forman and drummer Devin Kelly.  Charlie O’s.   (818) 989-3110.

Steve Gadd & Friends

- Nov. 10. (Tues.)  Reginald Robinson.  The MacArthur Genius award winning pianist  performs solo ragtime pieces to accompany silent film clips of animation by cartoon pioneers Walter Lantz, Otto Messmer and Earl Hurd. The Hammer Museum.

- Nov. 10 – 12. (Tues. – Thurs.)  Steve Gadd and Friends. After bringing the authentic flavor of jazz to a long list of pop artists, drummer Gadd does his own thing. With Joey DeFrancesco, Ronnie Cuber and Paul Bollenback.   Catalina Bar & Grill (323) 466-2210.  (Also at Yoshi’s SanFran Nov. 13 – 15.  See Below)

- Nov. 11. (Wed.)  The Philharmonia Baroque Orchestra.  Nicholas McGegan conducts this superb period orchestra, six soloists and the Philharmonia Chorale in a rare evening devoted completely to the music of Henry Purcell.  Disney Hall.  (323) 850-2000.

- Nov. 12. (Thurs.)  McCoy Tyner.  Versatile, ever-intriguing Tyner has been one of the most powerful piano innovators of the past five decades.  He performs with his trio and alto saxophonist Gary Bartz.  The large improvisational ensemble, Build an Ark, opens the show.  UCLA Live at Royce Hall. (310) 825-4401.

Janis Mann

- Nov.12. (Thurs.)  Janis Mann.  Although she’s been compared to such iconic singers as Sarah Vaughan, Mann bring’s her own unique qualities to the classic jazz vocal style. Crown Plaza Brasserie Jazz Lounge. (310) 642-7500.  m

- Nov. 12. (Thurs.)  Pete Christlieb Tall and Small Band w. vocalist comedian Tony Russell.  Saxophonist for all seasons Christlieb leads a snappy 10-piece band with his wife, trombonist Linda Small-Christlieb.  This is the first event in which comedy is added to Vitellos’ Red Carpet Jazz Series.  More on the way.   Upstairs at Vitellos.  (818) 769-0905.

- Nov. 12. (Thurs.)  Denise Donatelli. A singer with the sound, the rhythm and the interpretive imagination to bring a song to life – that’s Donatelli.   Charlie O’s.  (818) 989-3110.

- Nov. 12 – 15. (Thurs. – Sun.)  Dawn Upshaw with the Los Angeles Philharmonic conducted by Gustavo Dudamel.. Upshaw sings Luciano Berio’s fascinating cycle of folk songs and Dudamel conducts Schubert’s Symphony #8 (Unfinished).  Disney Hall.   (323) 850-2000.

- Nov. 13. (Fri.)  “Loud and Rich. “  Loudon Wainwright and Richard Thompson. A pair of veteran songwriters, each with a witty, sometimes sardonic, way with a phrase, make a rare duo appearance.  UCLA Live at Royce Hall.  (310) 825-4401.

Frank Marocco

- Nove. 13. (Fri.)  Dr. Bobby Rodriguez. ” Latin Dance Party”.  Trumpeter and educator Rodriguez knows all the connections between the steaming rhythms of Latin jazz and Latin dance.  The Culver Club in the Radisson Hotel Los Angeles Westside.  (310) 649-1776.

- Nov. 14. (Sat.)  Frank Marocco Quartet. Marocco keeps affirming the role of the accordion in jazz and beyond with his rich, inventive musical imagination.  He’s backed by Pat Senatore, bass, Robert Hardt, piano and Ramon Banda, drums.  Vibrato Grill Jazz…etc. (310) 474-9400.

San Francisco

- Nov. 9. (Mon.)   Ian Anderson plays acoustic Jethro Tull. Anarchic flutist Anderson revisits his past.   The Warfield.

- Nov. 11.  (Wed.)  Leon Russell.  A rare club appearance by the great songwriter, pianist and character. Yoshi’s  San Francisco.   (415) 655-5600.

- Nov. 12. (Thurs.)  Ray Davies performing the Kinks Choral Collection. Forty years after, Davies is still producing memorable music.  The Warfield.

- Nov. 13. – 15. (Fri. – Sun.)  Steve Gadd and Friends.  W.. Joey DeFrancesco, Ronnie Cuber and Paul Bollenback.  Yoshi’s  San Francisco.  (415) 655-5600.

New York

- Nov. 9 – 12. (Mon. – Thurs.  Gal Costa and Romero Lubambo.  An irresistible combination: Costa’s dark-toned, intimate lyricism and Lubambo’s remarkably intuitive guitar backing.  The Blue Note.   (212) 475-8592.

Jim Hall

- Nov. 10 – 14. (Tues. – Sat.)  Jim Hall Quartet.  Veteran guitarist Hall, always eager to test his wares in a contemporary setting, performs with Greg Osby, alto sax, Steve Laspina, bass and Joey Baron, drums. Birdland.   (212) 581-3080.

- Nov. 11. (Wed.)  Kat Edmonson.  A stand-out in the crowded field of young female jazz vocalists, Edmonson has an ear caressing sound and an easygoing sense of rhythmic swing.  The Jazz Standard.   (212) 447-7733.

- Nov. 13 & 14. (Fri. & Sat.)  The Mike Melvoin Trio.   The veteran pianist is backed by the world class rhythm team of bassist Jay Leonhart and drummer Bill Goodwin.  Mike promises that they “will play music for your blood, your heart and your spirit.”  Kitano.  (212) 885-7119.

Good morning!

I spent the weekend hanging out with a guy who entertained me from the moment he came to pick me up Friday night until he left for the week last night. (He went home to sleep…I’m still a Los Angeles virgin!)

We had a lots-O-fun going to see Jethro Tull, Malibu, Farmer’s Market and just walking around. We had GREAT food at a restaurant called Du Par’s which is at the Farmer’s Market. Yesterday we started out for Brentwood and Bundy Lane so that I could take pictures but we were mainly walking and by the time we got close to our goal, we were losing the sun so we just turned around and went back to my place to make-out. I haven’t done that in a while and I plan on doing it much, much more…even if my daughter keeps catching us and saying, “ICK!”

You know, you can kiss a lot of bad kissers in a lifetime and lord knows that I certainly have. So, it’s always a nice surprise when you come across a really accomplished kisser and I certainly have. Unfortunately, there are far too many kissing fish out there and I’m very disappointed after most kisses planted upon my lips. Oddly enough, a bad kisser has just as much confidence in their kissing abilities as does a really GOOD kisser so just in case there are any bad kissers out there (and chances are there are a LOT of them!), here are a few things to ponder BEFORE you assault another person with your lips:

1. Hard lips are only good for expressing derision and you should NEVER express derision in a kiss. I hate it when I kiss lips that seem to be in a foul mood, relax those bad boys and enjoy the moment.

2. If the lips you’re kissing keep wandering away from your mouth, consider the fact that you might be offending them with your tongue, your lips or your facial hair.

3. This seems to be a tough one for some moustachio-ed men…if the person you’re kissing continually jumps and says, “OUCH!”, you might have one of those faces that hurts. Be on the look-out for sharp hairs. You wouldn’t want to kiss a porcupine and neither would I!

4. If the chick has road rash on her cheeks, you should stop rubbing her face with your own.

5. Just because she let you kiss her, that doesn’t mean your hands can act like Daniel Boone, keep them away from boobs, crotches and backsides for at least a FEW make-out sessions.

6. Here’s a good rule to remember…if your hands aren’t soft, touch others softly with them.

7. A kiss is hard to refuse if you have your hands on both sides of a woman’s face.

8. Pay attention to a short person’s neck…they might be badly positioned. You never want a chick to remember you as the person who gave her whiplash.

9. Tongues should NEVER encroach uvula’s…if you’re going to let one out to play, keep good control of it.

10. Your best bet is to let another person kiss you for a bit and when you figure out what they’re doing, do it right back. It might not be exactly what they want, BUT…they can’t get mad at you for doing it!

My ex could have used some lessons in kissing and I’m glad I didn’t help him out. It’s nice to know that he’s annoying someone else with his mouth, moustache and bad breathe.

Life is a long song.

Life is a long song.

Life is a long song.

Dave Pegg, Brit bassist for Jethro Tull and Fairport Convention

dal 01/11/2009 al 16/05/2010
LEZIONI DI ROCK Viaggio al centro della musica –  V Ed.
a cura di Ernesto Assante e Gino Castaldo
Auditorium Parco della Musica
Teatro Studio, Sala Petrassi
h. 11:00 € 5.00
Info 06 80241281

Inizia domani 1 novembre la quinta edizione della rassegna LEZIONI DI ROCK, incontri di approfondimento a cura di Gino Castaldo e Ernesto Assante, critici musicali, giornalisti, ma soprattutto due grandi appassionati di musica, quella buona  e vera, che sanno riconoscere e trasmettere raccontandone, come si farebbe a un amico, tutti i dettagli spesso inediti della storia e di cio’ che ha fatto nascere o spesso finire una determinata situazione musicale. Che si parli di un artista, di un disco o di una band in generale, Lezioni di Rock è sempre l’occasione per imparare qualcosa in più grazie ai racconti dei due esperti, che ne sanno una più del devil, supportati da ottimo materiale video, foto e audio a rendere ogni incontro più completo.

Anche io mi sento allieva di Gino ed Ernesto e grazie a queste lezioni di rock, che frequento con certosina assiduità, ho fatto crescere il mio bagaglio di conoscenze musicali. Non vi lasciate  ingannare dal titolo della rassegna, perchè se il rock è l’ingrediente fondamentale degli incontri domenicali, non macheranno il jazz, il pop, RnB e tutto cio’ che può essere considerato la grande Musica degli ultimi cento anni.

gino castaldo

PROGRAMMA 2009/10

Dom. 01/11/2009
Beatles – Remastered

Dom. 22/11/2009
Michael Jackson – Thriller

Dom. 06/12/2009
Santana – Abraxas

Dom. 13/12/2009
Coldplay – Viva la vida

Dom. 10/01/2010
Jethro Tull – Aqualung

Dom. 31/01/2010
Tom Waits – Raindogs

Dom. 21/02/2010
Aretha Franklin – Aretha

Dom. 28/02/2010
Led Zeppelin – II

Dom. 14/03/2010
Weather Report – I sing the body electric

Dom. 28/03/2010 Sala Petrassi
Queen – A night at the opera

Dom. 11/04/2010
The Cure – Seventeen seconds

Dom. 18/04/2010
Neil Young – Harvest

Dom. 09/05/2010 Sala Petrassi
2001 Odissea nello spazio

Dom. 16/05/2010
Depeche Mode – Violator

One of my favorite music concerts, a filming of a date on the Genesis MAMA tour of 84, is going to be bundled into something called The Movie Box, a boxset with a bundle of Genesis video. It’s mostly video from the 80s/90s.

I prefer the video from the earlier years, these moviemakers didn’t get infected with commercial and music video design and focused more on the performance, not their own little joys of using shocking new techniques of quick cutting. There have been some great concerts, great sounding concerts, absolutely destroyed by a film maker injecting himself into the conversation. Get out of the way! You serve the music! The musicians are there to create the content, not have the music turned into a film makers content. Viewers like to watch musicians, really.

Rant over…for the time being.

Some info on the release…November for us in the US.

http://en.wikipedia.org/wiki/Genesis_The_Movie_Box

It is unfortunately missing a ton of music. From wikipedia.

The only tracks that were not included on the video that were performed at the shows were the show’s opening track “Dodo/Lurker”, the “Eleventh Earl of Mar”/”The Lamb Lies Down On Broadway”/”Firth Of Fifth/”The Musical Box” medley, “Follow You Follow Me”, “Los Endos” and “Misunderstanding”.

Second bit of news. A 1978 concert, with Barriemore Barlow, of a Jethro Tull show at MSG. It is a classic show with the classic Tull lineup. Barlow is one of the stars of the show (can’t have the drummer stealing the limelight however). It’s out now. I’m going to pick it up this afternoon, then pick up a few bottles of English Ale. I love this lineup of the band, very tight and powerful.

Amazon link

A sample.

Ambivalence

Study For Arcadia

Night Dancer

Nude Outdoors

Miranda Larraz

Myra Larraz

Summer Of 82

Winter Hat

Storefront

Showtime

Jethro Tull – Aqualung

Quien decide cuando uno debe ser demasiado viejo?

donde se van quedando rezagados los ímpetus juveniles?

Y quien me dice que debo dejar de ser bufón y asumir una vida más estable?

Bueno, nadie me responde…a la una, a las dos….no sigo, me quedo igual…

Este señor vino a Costa Rica y todos esperábamos verlo levantar la pata mientras tocaba su flauta traversa…pero en Lima, por negligencias miserables, se rompió la tarima y el tipo cayó y se quebró una pierna. Pero en vez de clausurar su gira (siguiente etapa Costa Rica) apareció en silla de ruedas y aún así dió un conciertazo…Como los grandes.

De paso demostró que todavía no estamos para ser muy viejos para el rock and roll

Anna Phoebe is the dynamic, sexy, and ultra-talented violinist for the Trans-Siberian Orchestra (TSO). When Phoebe is on stage, her presence is such that it is hard to take your eyes off her. She’s that good. After releasing their latest disc, Night Castle, Tuesday, she and the rest of TSO hit the road for their annual winter tour beginning this Sunday. If you haven’t seen them yet, I suggest you buy a ticket. It’s amazing show with some of the best musicians in the world. Phoebe was nice enough to take the time to speak with us during a break in rehearsals and tell us about her beginnings, how she got involved with TSO, her love for Ian Anderson of Jethro Tull and her solo work.

30 Days Out: How did you get your start in music?

AP: I started playing violin when I was 7. My mom started me off because she plays violin, more as a hobby. She didn’t let me start playing until I promised her I would practice every day, she was quite strict. She started giving me lessons, but we argued so much that after three lessons, I was shuffled off to a teacher at school. I played all classical until age 18. I had a music scholarship and I went to an all-girls boarding school. I actually had an academic and music scholarship. I could have gone on to study music, but I didn’t want to sit in an orchestra or be a music teacher, which is what I thought my options were at the time. So (instead) I went to study politics at the London School of Economics and while I was studying I would go out and listen to music and go up to bands I like and say “listen if you want any violin on your record, I’ll come and play with you.” This led to jamming with various bands and through that I got work. When I finished at university, I did a little bit of temping work at an office, and I was really bad. I wasn’t very good at that type of work and I think I was told off a few times for wearing the wrong types of outfits. I was a document controller for the public train stations and it lasted like six weeks and I said to myself “I can’t do this.” By then, I was making enough to live by playing music.

30 Days Out: How did you get involved with TSO?

AP: I was randomly in New York City having a meeting about something else. I was working on various projects with different artists at the time and I met a woman named Dina, who was also at the meeting and happened to be the talent recruiter for TSO. She told me she had some people for me to meet and I went along. The next thing I knew I was in the studio with all these guys with long hair and leather.  I was thinking “who are these guys?” They took me to Robert Kinkel’s (TSO songwriter, co-producer) house in Brooklyn to audition. I walked into this random room in Brooklyn with a video camera and I thought “what have I gotten myself into?” I had no idea who these people were and went I got home I Googled “Trans-Siberian Orchestra” and thought “shit, these guys are a big deal.” I did some audition tapes and sent them in. One day I was playing on a rooftop in Beirut, I play in the Middle East a lot, and I got a call from Dina telling me I was one of the three finalists for the gig. So I scraped together the money, flew to New York, and I eventually got the gig.

30 Days Out: Tell me about your participation in the new record, Night Castle?

AP: Paul (O’Neill, TSO composer, lyricist) had everyone fly down to Tampa to do some recording and I went down there for a week and recorded a bunch of things. It nice to finally be on a record. At the end of every tour, we get these gold and platinum discs from all the other records, but I wasn’t on any of those, so it always feels like you’re faking a bit, but it’s nice to finally be on the record.

30 Days Out: I understand you guys rehearse in Omaha, NE. Why Omaha?

AP: In the arena we have both stages set up, the east and west tours. It’s really cool because it really feels like one big band. We get to hang out with each other, it’s really good.

30 Days Out: Tell us about rehearsals?

AP: It’s hard, long days. We have a lot of music to go through. We go through the whole show a few times every day and pick out bits to work on and getting everything up to snuff.

30 Days Out: You put so much into every show, how grueling is it to do every day, sometimes twice a day?

AP: It’s a lot of hard work because the day is more than about being on stage. I think a lot of people think that being a musician is a bit of an easy job, you just get on stage, do your bit and then you party afterwards, but it’s not like that. It’s the most full day you can imagine. Not only are you traveling, especially on this tour you are traveling long distances. Your body is on a completely different kind of clock. We have string rehearsal every day with string players from the local cities that I have to direct, then you have sound check and then sometimes we have two shows a day, and the shows are quite long (many times in excess of three hours). I play with other bands throughout the year and we only do 90 minutes and that’s a workout, but it’s also a club gig and the stage is much smaller. You forget how huge the TSO stage is and how fit you have to be to do this show. It’s physically demanding and being on tour is emotionally demanding. You’re away from your family, your friends and, for me, I’m on a completely different time schedule (she lives in London). I sometimes will only speak to my best friends once in three months, so you have all that before you even get on stage. The saving grace is that when you are on stage the adrenaline kicks in and you get in the zone that “this is what you’re meant to be doing in life” and it really gets you through.

30 Days Out: What does being the “string conductor” for TSO entail?

AP: We meet with the string section in different cities before the show and go through parts. Most of the people have been doing the show for a few years and they are great. We have a guy who books everyone who is right for the show. I think for a lot of people in a symphony orchestra this is a very fun gig to do. You’re playing with all the lights, fire and lasers and, as a string player, it’s a fun show.

30 Days Out: Watching the show it looks like fun, but also very intense. What’s it like being on that stage?

AP: It’s amazing. It’s one of the best bands in the world to be in. When you’re on stage you’re not really aware of how big everything really is because you are so in the moment. Everyone from the band to the crew is the best in the business. It’s an amazing experience.

30 Days Out: Where does your dynamic stage presence come from?

It’s just me really. You can’t fake it. I get so much energy from the audience and from the people on stage. It’s all about being in the moment, without getting to spiritual about everything. When you’re on stage and you know the arena is sold out waiting for you to get on stage, I can’t describe how amazing that adrenaline is and a lot of it comes from the audience. It’s like you soak up all the energy in the room and give it back and that’s what the process is for me. Playing music is like another form of communication.

30 Days Out: The tour starts on Nov. 1 and goes through the first of the year with only a few days off. How tough is it to play for more than two straight months with little downtime?

AP: It actually goes by really quickly. It is a long time and being away is tough, but you’re on tour, you’re living the dream. It’s quite amazing. I love being on the road. I love being in different cities, hotels. I feel really privileged after doing the west coast tour for four years to now be on the east coast tour to see the rest of the United States. Playing the shows is an incredible privilege.

30 Days Out: Tell us about some of the other artists you have played with?

AP: I have been playing with Jethro Tull on and off for the past few years. Playing with Tull, I learned so much from (frontman) Ian Anderson. He’s been kind of a mentor to me. Anyone who has had a career spanning 40 years in anything is a hero in my book. As a musician touring, he’s in his early sixties and still doing between 100 and 200 shows a year. I quite like to be like that when I’m old, older. He’ll kill me if I call him old. Ian’s one of those people who, no matter how long he’s played a song, he’s looking to make it musically better and that makes your playing so much better. He would come up to me and say “Anna, the way you are approaching the second note of the second verse, you’re kind of sliding up to it, maybe if you approach it this way.” His hearing is great and he’s such a perfectionist. That makes me play better knowing that someone is really listening to what you are doing. That’s definitely a highlight. There’s another band called Oy Va Voi who I’ve been touring with. It’s kind of gypsy-Balkan music. It’s an incredible band. We play all over…Slovakia, Budapest. It’s really great.

30 Days Out: Tell me about your solo work?

The latest album I’ve recorded is Rise of the Warrior (available at iTunes). I did it with a guy named Joost Van den Broek, a classically trained pianist. He also plays heavy metal, so he has a great mix of classical and metal. We really brainstormed quickly. Within six months of meeting each other we wrote and recorded the entire album. It’s kind of symphonic metal. Very dramatic and theatrical.

You can catch Anna Phoebe on the East Coast version of the Trans-Siberian Orchestra tour. It all kicks off this Sunday, Nov. 1. Check out all the dates at the official TSO website.

Anna Phoebe Official Website

Anna Phoebe MySpace Page

Anna Phoebe Twitter Page

I have been sick today, so there was time for being sentimental…I was thinking of when I many years ago was on my way to the airport in calcutta/india- it was early morning, india was both ugly and at the same time just so awesome&most beautiful place in the world as it can be. we were listening jethro tull, which made the experience/taxiDrive a bit surrealistic. now I don t know when I am able to travel to india next time, probably when I am a old lady( with some QuickSilverClub and bunch of other old ladies?).. but jethro tull will come to sweden soon- I would really fancy to see him then, last time in jethro-concert was also plenty of years ago, when I still was young&optimistic:-P so now I just send many boring middleageKisses on monday then xoxoxo <3 the picture comes from: here

I found this magical video of Jethro Tull playing Bouree to an empty stadium at sunset, which is just how it should be played. Although I strongly suspect the music you hear is an overdub of the original studio recording. No way they could get that level of sound quality playing outdoors live. Bouree is a reworking of a composition by Bach. JTull always was far too classy for the common denominator. Just when it seems there’s no place in popular culture for a band with a working knowledge of classical music (or classical anything for that matter), along comes somebody who proves the rule by being the exception. Bouree was quite a hit. Not in a top of the pops way, but it did become a song discerning rock fans revere, not a forgotten gem but a real classic.