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Ian Anderson: Divinities - Twelve Dances with God
||Divinities - Twelve Dances with God
Tull, Man Doki
|Price in €:
 In A Stone Circle (Anderson) - 3:25
 In Sight Of The Minaret (Anderson) - 3:54
 In A Black Box (Anderson) - 3:24
 In The Grip Of Stronger Stuff (Anderson) - 2:48
 In Maternal Grace (Anderson) - 3:21
 In The Moneylender's Temple (Anderson) - 3:19
 In Defence Of Faiths (Anderson) - 3:11
 At Their Father's Knee (Anderson) - 5:43
 En Afrique (Anderson) - 2:52
 In The Olive Garden (And4erson) - 2:50
 In The Pay Of Spain (Anderson) - 4:05
 In The Times Of India (Bombay Valentine) (Anderson) - 8:09
Ian Anderson - Flute, Alto Flute, Whistle, Bamboo Flute, Wood Flute,
Andrew Giddings - Keyboards, Engineer, Orchestration
Doane Perry - Percussion
Randy Wigs - Harp
Jonathan Carrey - Violin
Douglas Mitchell - Clarinet
Nina Gresin - Cello
Christopher Cowie - Oboe
Dan Redding - Trumpet
Sid Gander - French Horn
Gareth Wood - Orchestration
Roger Lewis - Orchestration
Leon Phillips - Engineer
Ali Aziz - Liner Notes
All music written by Ian
Anderson and Andrew Giddings.
Recorded in 1994. Includes liner notes by Ali Aziz.
"...these 12 instrumental pieces for acoustic flute enable the finest
woodwind practitioner in British rock to run his fingers over his holes
to good effect....a bit like tuning in to Classic FM by mistake."
Q Magazine 6/95, p.115 3 Stars
- Good -
"...His writing recalls Aaron Copland with its dynamic tempo shifts and
doubled lines, but there are touches of India, Flamenco, palmas, and
wooden flute as Anderson traverses the world..."
Jazziz 9/95, p.31
This album, along with Aqualung and Thick As A Brick, constitutes Ian
Anderson's thrust for serious music credibility--unlike the two Tull
albums, however, this one started out with a serious intent and seems
to be roughly Anderson's equivalent to Paul McCartney's Liverpool
Oratorio, except that there's nothing remotely as embarrassing here as
there was in that piece of overblown North England drivel (also done
for EMI, on should recall). The familiar voice is absent, as Anderson
confines his work to the flute and, with keyboard player/arranger
Andrew Giddings, gets backing from various size classical ensembles.
The result is a kind of New Age pastiche, drawing together contemporary
classical and folk/pop music influences into a smooth, pleasant, at
time soporific whole, a tour around the religious world by way of
Muzak-style instrumental tunes, some of which ("In A Black Box") will
recall specific Jethro Tull tunes out of the past.
Bruce Eder, All-Music Guide
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