Ian Anderson eclectic in concert at Michigan Theater
Deep-cut Jethro Tull fans attending Ian Anderson’s Michigan Theater performance on Wednesday likely were in 1970s dorm-room Heaven.
Ian Anderson publicity photo
Casual classic rock fans might have had a different take on the Tull frontman’s erratic, occasionally compelling and ultimately confounding performance.
Fortunately for Anderson, the perhaps two-thirds full audience seemed to be largely on his side, as he veered between new compositions, inexplicably reworked FM classics and lost relics from the Tull catalog.
He threw in not just one, but two Bach numbers, even while eschewing the notion that Tull and other progressive rock bands were pretentious. But that argument’s too ridiculous to refute; suffice it to say that, now 63, Anderson remains a living, breathing embodiment of why punk rock was necessary in the mid-1970s.
Anderson wisely divided his show into two sets on Wednesday, delivering lilting folk rock in the first and saving heavier, more electric material for the second half.
During the former, he and his four-piece band unearthed classic Jethro Tull numbers like “Nursie,” and the bizarre “The Story of the Hare Who Lost His Spectacles,” introducing each tune in a matter-of-fact “and then in 1972 I wrote” fashion.
But for the Jethro Tull completists in the audience, it was a Proustian trip down gatefold album memory lane that was oddly enjoyable even for this casual observer — particularly when Anderson made wobbly attempts at his classic one-footed flute-playing stance. Suffice it to say that two-footed is probably the safe route at this point in the game.
The second set was more confounding, even though it contained more recognizable material.
A multi-movement, just-like-the-record “Thick as a Brick” was satisfyingly muscular, leaning heavily on Florian Ophale’s distorted Les Paul playing. (Ophale was to lose points during a solo spotlight only a few tunes later, when he made a ham-handed hash out of Bach's “Toccata and Fugue in D Minor.”)
An almost interminable “Budapest” was the show’s nadir, wearing out its welcome well before the band was halfway through with it.
But even more unforgivable was Anderson’s insistence on reinventing Jethro Tull’s two most-recognizable numbers. “Aqualung,” one of classic rock’s most-signature riffs, was reduced to a soft-jazz shadow of itself, while the sole encore number, “Locomotive Breath,” took on a new time signature that sapped it of its considerable majesty.
Playing those tunes each show for decades probably gets old. But since they’re also buying his meals, perhaps Anderson should treat them with a little more dignity.
Will Stewart is a free-lance writer who covers music for AnnArbor.com.
Comments
Cary
Mon, Nov 1, 2010 : 12:14 p.m.
Jethro Tull had just toured in June with the traditional arrangements of the classic Tull hits.This was not a Jethro Tull show plain and simple.Ian Anderson presented a fantastic set list which was totally different and welcomed by the fans.I just don't get it but thats ok.
Esther Simpson
Fri, Oct 29, 2010 : 2:18 p.m.
I think Will's got to tweak the recipe of his Vodka and Vinegars. There's some truth in this story, but what a sourpuss! It was a great show.
Steve
Fri, Oct 29, 2010 : 12:41 a.m.
Well then, Sir Will did speak of the spot-on performance of Thick as a Brick, but what do ye mean kind sir, that ye have non o that yer'self? nay, ne'er. :)
Bonzo
Thu, Oct 28, 2010 : 10:47 p.m.
Just saw Ian Anderson and the Band tonight in Cleveland. After reading your review, I expected the worst. I saw him n 72 and tonight I saw the same brash, musician I saw in 72. The band was tight. The arraignments unique as always, but their version of Thick as a Brick brought the second of many standing o's from the capacity crowd. Yes his vocal range is narrower and his voice is thinner..but the darkness and vitality of his work lives on. Oh yes the blend of accordian, Florian's guitar work was outstanding. To me, the review from Ann Arbor was in the end..Thick as a Brick.
Steve
Thu, Oct 28, 2010 : 10:10 p.m.
btw, Michigan Theatre is so compact, and I had decent seats, so I doubt that you heard him any more perfectly than from my seat. The mixing board either had him occasionally blasting out on a solo, or strangely silent as if he was unplugged, or more likely bended into the mix as he focused on one other person. You've got to emphasize two or three people at a time in an Ian song, and switch rapidly between which two or three of five or more rather quickly. I'll cut the sound person some slack as well, up to C+. Tough gig for all, but great show!
Steve
Thu, Oct 28, 2010 : 10:01 p.m.
Hmm. Did Martin Barre study or in any way give any hint of Chuck in his playing? You are backing up Will's comments (and so am I) that Ian and whatever group he chooses to play with are not for everyone. But Florian worked rather well with Ian and has done for some time. He wasn't exactly a last minute fill-in, nor is he as you describe. cheers!
recordhound
Thu, Oct 28, 2010 : 9:06 p.m.
I could hear the guitar perfectly and it was just bad, bad tone. I just don't understand the whole guitar school of "young guitar prodigy who perfects classical playing and leaps straight to the Eddie Van Halen/Randy Rhoades metal shred." Anyone who precedes (or skips entirely in this case) Chuck Berry, just ain't for me.
Steve
Thu, Oct 28, 2010 : 8:56 p.m.
Here are a couple Florian links: He played this flamenco solo last night, and loved when his bandmates came out toward the end playing "rhythm": http://www.youtube.com/watch?v=Y4Xj_pFZmF0 with another group: http://www.youtube.com/watch?v=z3G1WL1Rb0k Live in Germany: http://www.youtube.com/watch?v=NoGRdy9AotM I'd say, cut the kid some slack and ask the sound man what he was thinkin'...
Steve
Thu, Oct 28, 2010 : 8:39 p.m.
On the basis of this one performance, I think the jury is out on whether Florian is weak on guitar (and dear Lord, I should be so weak, please). One has to be able to hear the guitar in order to make that judgement, and as I brought up, all too often the person on the sound board was blending everyone into a generic mix.
recordhound
Thu, Oct 28, 2010 : 8:23 p.m.
I understand the need to rework tired material for the sake of creativity. But changing the essence of one of the most famous guitar riffs in classic rock history? Weird. The reviewer is correct on this point. I actually thought he was pretty kind to what was a pretty mediocre backing band. The guitar player in particular was weak, even if that kind of guitar style is your preference.
Steve
Thu, Oct 28, 2010 : 8:17 p.m.
I'm guessing Will did read the press release before the show, since he told me about that press release a couple days beforehand. And as a regular music reviewer on AnnArbor.com, Will knew very well who was appearing. Just sayin'.... :) and I agree, I loved the show, except for those points I already mentioned. But I'll add that although a Jethro Tull fan will almost certainly love an Ian Anderson show, it might be hit and miss for anyone whose cup of tea is not in that direction, since there is a heck of a lot of similarity from one song to another. It's a similarity with enough difference and creativity that it blows me away at times, but it won't blow everyone away. I'm guessing that was Will's point, and I'm guessing Ian himself knows it and is OK with it. Can't please everyone...
JPLewis
Thu, Oct 28, 2010 : 5:15 p.m.
Perhaps Will should have read the press release on this very annarbor.com website as well as the billing on the Michigan Theater's. This was not a Tull show. Never was supposed to be, so the ridiculous review penned by Will is flawed from the get go. A quick look at youtube will reveal that Ian Anderson, as he is playing on this tour, is not even supposed to be like a Tull show. I found last night's show to be refreshing, fun, wonderful and a great way to experience a different side of Ian Anderson's music. Bravo to Ian and his troupe for delivering just what I was hoping for!
Steve
Thu, Oct 28, 2010 : 1:36 p.m.
Knowing Will, I don't think he missed the point, and as a damn fine musician himself he would never argue with creativity. More likely he didn't care for some of those arrangements and thought they were not worthy replacements for the originals. That said, I loved the show, and my favorite parts (of many) included Budapest, the alternative arrangement of Aqualung (which worked nicely for me), and Florian Ophale's flamenco solo. The downers for me were few and far between: although Ian's vocals were outstanding 90% of the time, the mix of vocals with the rest seemed spotty at times, just as the mix of Florian's lead sometimes left him looking like he was playing his Les Paul unplugged. C- for the sound man on this gig (though I understand Michigan Theatre is a tough venue on sound). The only other downer for me: although I applaud alternative versions of any song and often hunt for them on YouTube, I agree with will that the particular version of Locomotive Breath didn't cut it, at least not as the encore. Of course I'll always want one more encore, but this one left me wanting another for all the wrong reasons. It wasn't bad, mind you, but not worthy of being the finale.
rscolb
Thu, Oct 28, 2010 : 11:15 a.m.
Having seen Tull and solo concerts since The TAAB show as Cobo in 1972, almost 60 times now, I think you miss the point entirely. Having seen Tull in June in Windsor, this ia an Ian Anderson show, not a Jethro Tull show. If you want Loco Breath and A-Lung played the same way it has been for 39 years, then see Tull with Martin and Doane. As Ian states, this format allows for a diffewrenr approach which includes greater creativity and more artistic license. No other artist would have the b lls to treat a classic this way. They are not stretching as musicians. If Ian didn't keep stretching, I would have stopped listening and seeing Tull years ago. That is the point >> this is a musical journey that is still vibrant and contains musicians and musicianship that is unparalled in popular music. ian and Tull can't be the Tull of the 60's and 70's. hey don't want to be. Let Mick,the Who, Steven Tyler, Ozzy and all the others still prance and behave as they did 30 plus years ago. Doesn't work for me at the ripe old age of 52. Ian's voice problems aside, he is the hardest working "relic" around today. He is a professional musician who keeps striving forward. As for the "Story of the Hare who lost his Spectacles", what a rare treat for someone who saw the film in the context of the Passion Play tour of "73". Though the album may not stand up today, One of the best shoiws ever. The only critic I trust is my 16 year old who saw "The Wall" this past sunday at the Palace, as well as Ian last night. Guess what, he got home last night and purchased tickets to Ian in Kalamazoo for Friday night's show. Dylan, Roger Waters >> no thanks, I'd rather be right up front and see the spit fly!
Pocket Beaver
Thu, Oct 28, 2010 : 9:14 a.m.
What I saw last night was a 63-year-old legend still able to rock it out and not afraid to try new things with the music he's been playing for 40 some years. I've heard the studio/radio versions of "Aqualung" and "Locomotive Breath" dozens of times (and can listen to them any time I want to) so I was glad to hear a different take. Is Prog Rock sometimes guilty of pretentiousness? Perhaps. Is Punk sometimes guilty of shallow adolescent belligerence? Probably. But I started listening to Jethro Tull and Punk around the same time and as I grow older I find I'm still learning from Jethro Tull (especially the deep irony of Thick as a Brick) while Punk is starting to seem dated and silly. In other words... it was a great show!!