1. Minstrel in the Gallery
(Anderson/Barre) - 8:13
2. Cold Wind to Valhalla - 4:20
3. Black Satin Dancer - 6:53
4. Requiem - 3:45
5. One White Duck/0 3DNothing at All - 4:38
6. Baker St. Muse - 16:42
1.. Grace - :36
Ian Anderson - Guitar (Acoustic), Flute, Vocals,
Producer
Martin Barre - Guitar, Guitar (Electric)
Barriemore Barlow - Percussion, Drums
John Evan - Organ, Piano, Keyboards
Jeffrey Hammond-Hammond - Bass, Guitar (Bass)
David Palmer - Synthesizer, Conductor, Keyboards,
Saxophone
Jeffrey Hammond - Guitar (Bass), String Bass
Patrick Halling - Violin
Rita Eddowes - Violin
Elizabeth Edwards - Violin
Bridget Procter - Violin
Katharine Thulborn - Cello
Brian Ward - Photography
Robin Black - Engineer
If the work of but autumnal and deep intimacy of Genesis
calls herself "Wind and Wuthering", that of Jethro Tull calls you "Minstrel
in the Gallery".
"Minstrel in the Gallery" is one of the most
elegant and sophisticated works inside Jethro Tull's history and maybe inside the
history of the Progressive Rock. In the this strongly captured one Ian Anderson's
personality and in this disk, he develops their great talent to write their songs with a
strong base in the acoustic guitar, fact that had been demonstrated in some passages of
their first disks. This characteristic was shown previously in the acoustic parts of "Thick
As A Brick", some songs of
"Aqualung" ("Cheap Day Return",
"Wond'ring Aloud") and their previous work "Warchild" ("Only
Solitaire", "Ladies").
This disk corresponds entirely to the first work engraving in the
personal study of Ian Anderson, recently acquired, what determines the character of
the album strongly.
The fire begins with "Minstrel in the Gallery", a
song with exhibition folk - classic - acoustics, opening the way to a potent rock where
the trio guitar-bass-drums deploys all the fury and necessary force. It is interesting to
highlight the fact that both parts - the first acoustics and the second but strong and
rocker, possesses the same letter exactly, what makes us notice the incidence that has the
music on the intention of that that you this saying. Revising the letter and noticing
this, we meet with a resource musical and literary very potent; this is the effect of
different music on oneself text, and the difference of the final results.
"Cold Wind to Valhalla", it is the second theme of
the disk whose attitude remembers the naturalness and anger shown in "Aqualung".
Leans out a shy arrangement of strings, accompanied by aquatic guitars that go taking
force through the theme with great speed. The flute makes its dramatic appearance and it
fights in front of the texture that they deploy the other instruments. It is the first
sample of sadness, which patent is plowed inside the disk.
The double John Evan/David Palmer is one of the
interactions piano - it orchestrates better achieved inside the history of the rock,
really surprising. The majestuosity, the English feeling presents to "Black
Satin Dancer". Anderson exposes all its
sensibility. Until here everything it is sad, majestic until you begins to insinuate the
rage and we enter in a section rocker, very similar to the first theme of the disk.
To never get ready for the saddest theme written by Anderson.
That better I title that "Requiem" for a fine art piece. The acoustic
guitar, in charge of Anderson seconded by Martin Barre it is fabulous, all
this adorned by a fine arrangement of strings of Palmer.
"One White Duck/0 3DNothing at All", it picks up
the feeling and atmosphere of the previous song and it is developed in time of waltz,
until being Anderson, their guitar and their voice capturing all their frustration
of a situation that becomes untenable. A great very expressive song.
"Baker St. Muse" is a synthesis of all the
feelings, states of I encourage and musical textures expressed until here in this great
work. The suite begins with a superb piano arrangement - it orchestrates opening the way
to contrasts rockers - moments folkies, and totally classic passages.
The disk is resolved with the inclusion of "Grace",
a small and charming piece that really salvo the situation of sadness, patent in the whole
disk and leaves open a door of hope and optimism which "Soon" of the "The
Gates of Delirium" of Yes.
I only have an idea of the text of this wonderful work, and I don't
possess the translation. If some cashier cheers up to supplement this exhibition with the
translation of the letter, all very grateful ones will be.
A great disk, of the most sincere in Jethro Tull.
Camilo Ruiz-Tagle M.