Album Info
| Artist: | Ian Anderson with the Frankfurt Neue Philharmonie Orchestra |
| Album: | Plays The Orchestral Jethro Tull |
| Gatefold: | Yes |
| Released: | Europe, 18/11/2022 |
Tracklist:
| A1 | Eurology | 0.145833333333333 |
| A2 | Calliandra Shade | 0.2375 |
| A3 | Skating Away On The Thin Ice Of The New Day | 0.16875 |
| A4 | Up The Pool | 0.140277777777778 |
| A5 | We Five Kings | 0.147222222222222 |
| Composed By - Rev. J. Hopkins | ||
| A6 | Life Is A Long Song | 0.148611111111111 |
| A7 | In The Grip Of Stronger Stuff | 0.127083333333333 |
| B1 | Wond'ring Aloud | 8.68055555555556E-02 |
| B2 | Griminelli's Lament | 0.131944444444444 |
| B3 | Cheap Day Return | 6.04166666666667E-02 |
| B4 | Mother Goose | 0.240277777777778 |
| B5 | Bourée | 0.220138888888889 |
| Composed By - J.S. Bach | ||
| B6 | Boris Dancing | 0.146527777777778 |
| B7 | Living In The Past | 0.2 |
| C1 | God Rest Ye Merry Gentlemen (traditional) | 0.205555555555556 |
| C2 | My God | 0.377083333333333 |
| C3 | Aqualung | 0.431944444444444 |
| D1 | Pavane | 0.189583333333333 |
| Composed By - G. Fauré | ||
| D2 | Budapest | 0.586111111111111 |
| D3 | Locomotive Breath | 0.280555555555556 |
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Description
2LP - 180g Black Vinyl (Direct Metal Master). The full show on vinyl for the very first time!
Originally released in 2005 on CD and DVD, this edition contains the concert in its entirety on vinyl for the very first time.
Between 2004 and 2006, Ian Anderson toured the Ian Anderson Plays The Orchestral Jethro Tull series across Europe and the USA, alongside the Frankfurt Neue Philharmonie Orchestra, conducted by John O’Hara. It also featured Florian Opahle (acoustic and electric guitars), David Goodier (bass and glockenspiel) and James Duncan (drums and percussion)
Speaking in 2005, Ian Anderson said about playing with the orchestra:
“The core band who play with me on these concerts are chosen for their skills in varied musical disciplines. They have to cover, not only the different styles and nuances of any of my and Jethro Tull’s music over the many years, but also need to have a good understanding of the complete workings of the orchestral settings we employ.
The various orchestras with whom I have played since 2001 all have their separate personalities. Some have worked in the whacky world of “crossover” Classics with people like me before. Some have not and thus face a musical interrogation at rehearsal as we discovery our mutual strengths and failings.
But the whole point is to revel in the little tensions, to explore and exploit the skills and excellence of playing and try ultimately not to get too picky about phrasing and timing when the performance depends on heart, soul and mutual support.”
