In many ways it is hard to realise that up until the 2017 reissue of ‘The Gardening Club’, originally from 1983, Martin had only been recording a few albums over the years for his own interest, concentrating instead on his day job of illustrating. That reissue and consequent interest has lit a fire under this septuagenarian which puts many musicians half his age to shame. Since then we have had two more albums by The Gardening Club, multiple EPs by A Gardening Club Project, and now here is their first album. The line-up is Drew Birston (fretless, acoustic and Moog bass), Wayne Kozak (soprano saxophone), Kevin Laliberte (drum programming, keyboards, and gut string guitar), Sari Alesh (violin) and Martin (vocals, acoustic and electric guitars, bass). Mention must also be made of the extensive wonderful illustrations Martin has provided for the 24-page full colour booklet which also contains the lyrics.
When I first read a review of the original ‘The Gardening Club’ I was incredibly intrigued, and soon got my own copy and consequently wrote a review saying just how much I enjoyed it. It was only after that had appeared that Martin tracked me down and we became friends, so I loved his music before I knew him. I need to put that out there, as many will be aware that Martin has since provided the wonderful designs which adorn my books ‘The Progressive Underground’, and I don’t want you to think I am biased. I have always believed in being honest in my reviews, as there is too little time in this world to spend on bad music, so I say what I think (although of course my opinion may change over time), and I know that Martin and I would have a private debate if I ripped this to pieces, but if that is what I felt then that is what I would say (I did once have a keyboard player tell me we were still friends after I had slated his latest release as he understood where I was coming from). However, this is not a debate I need to have with my fellow ex-pat, as to my ears this is the most complete album he has released to date.
When starting with Martin’s work I always think back to two very different artists, namely Roy Harper and Camel, as he manages to bring them together in an incredibly compelling manner. He also likes to keep pushing the boundaries, and by using different musicians to those in The Gardening Club he has done just that. For the most part this is Martin, Drew, and Kevin, but somehow, they manage to create the feeling of a much bigger band, and while everyone involved in this release recorded in different studios, there is a togetherness which defies belief. They bring middle eastern themes in when the time is right, slip into symphonic prog at others, back into singer songwriter, and that there are no real drums are not noticed just because there is so little percussion on the album at all. The a capella layered introduction to “The Turning of the Glass” is simply delightful, while the phased electric guitars in the background add to the acoustic picking in the foreground.
Throughout this album there are surprises, as the band move in different directions, staying true to their core yet also understanding there is a need to keep shifting so the listener never knows what is going to happen next, just that they are in the presence of beauty. The first time I listened to this I played it back-to-back three times, and each time I gained more from it. Since then, it has been a regular, as there is something magical about this, with a complex simplicity, or simple complexity, which means the listener is transported to a time and place where nothing else matters apart from the music.If you have never discovered the incredible music of Martin Springett, then now is the time to do so, if not sooner.
Tony Romero is probably best known as being a long-time DJ on the best internet radio station around, House of Prog (in full disclosure I’d better mention that I also review for the site). He has long had an interest in all forms of progressive rock music, has interviewed literally hundreds of stars within the scene, and when it came time for him to record his debut album, he was able to bring some of those into assist. One of those is Steve Bonino, whose input into the album is considerable, providing vocals, bass, keyboards, guitar as well as working with Tony on mixing, arranging, and producing the album. Tony provides keyboards throughout, although he is also assisted in that regard by Robert Schindler while there are also three guests who are on one track each, namely singers Liz Tapia and Sophia Baird and guitarist Peter Matuchniak.
Tony is the only person who appears on every track, as one would expect, and this is very much his album, working to combine his interests in different types of music. This means that although he has involved musicians I very much admire, they have been working with his guidance, so this is very much a Romero release as opposed to Bonino etc. Tony has an approach to keyboard playing which I understand, but to be honest am not a huge fan of, which means I am coming to this review being able to appreciate what is taking place while not actually enjoying it. This is because Tony is coming into prog from an area of electronica, so the keyboards being used have sounds and styles from the Eighties, and while there is some guitar, there isn’t enough for me. The keyboards can be quite staccato as opposed to sweeping, which can be at odds to the vocals.
There are also quite a few instrumentals on the album, and Robert Schindler’s keyboard solo on “House Arrest” sounds like a shredding guitarist, but it is played against sounds which to my ears don’t work as well as they might. However, I am also fully aware that this is because I am not a fan of this style of music as opposed to anything wrong with the music itself. The music has been well performed and recorded, but it is just that I am not the target audience. I truly hope that Tony manages to get this to the right listeners, as it is definitely more electronica than progressive, and it is always interesting to find people releasing music that is somewhat unexpected.
It has been an incredible last four years for Martin Springett, who could never have thought the 2017 reissuing of his (it must be said) obscure 1983 album. ‘The Gardening Club’, would herald such a reawakening of his musical beast. His revived partnership and collaboration with Norm MacPherson has seen them release new albums, with this long-form version of “The Owl’ being made available on the same day as the limited-edition extended ‘The Time Trilogy’ EP (which is by A Gardening Club project, with very different sounds and personnel). “The Owl” was originally released as the B-side of “Strange Kingdom” last year, where it was a mere four minutes long, but it has now been extended and morphed into a suite which is more than 17 minutes in length and is worth every second.
I have long been thinking of Martin’s music as a combination between Camel and Roy Harper, and while that is still the case, here that is a base for a much richer palette. Norm is a key member of the partnership, providing some wonderful orchestral arrangements, dobro and slide guitar with Martin bass, acoustic guitar and vocals, James McPherson on drums with Peter Dowse and Drew Birston both providing bass on different sections. It is the combination of all the elements, especially against the delicate orchestration, which really makes this stand out. This belongs firmly in the Seventies, with Mike Oldfield, The Strawbs and Gryphon being the obvious references, and is delicate and light, dreamy and passionate, calling to the listener and bringing them in closer to be wrapped in a warm embrace. The sections are distinct, with wonderful slide on one, fretless bass on another, an oboe here, long instrumental sections or others dominated by Martin’s sweet tones. This is a timeless piece of music, and while it is being played nothing else exists or matters, it is all about the sound. The first time I played this was when I was washing the pet room floor, a task which is as monotonous as it sounds, and from the first gentle picked acoustic guitars I was transported. I had made the decision to play it on headphones and I am so glad I did as that is the only way to get the true benefit. Strings were introduced before the first minute was over, and I soon realised this was quite different to previous music I had heard by the band, and all for the better.
Martin has been invigorated by the awakening of his musical muse, and his output has been prolific (while also keeping up the day job of being an in-demand illustrator, he of course provides all the artwork for his releases). Part of me wonders what would have happened in his musical career if it had taken off back in 1983, but there again there is no use playing that game, and instead we can revel in wonderful progressive rock music of real depth, breadth and quality which is being delivered today. Long may it continue. This is essential listening for all lovers of quality music which is in no rush to get to the end, yet never wastes a note.
The Platinum Membership gives you admittance to three days of the RoSFest music festival with exclusive access to the best seats in the theater, (membership seating will not be available via our online ticketing channels).
Special RoSFest VIP lanyard & pass granting early admittance to the theater with access to select meet and greets and pre-show sound checks (some limitations apply). Exclusive RoSFest T-shirt plus your name will be added to a designated thank you page here on the website.
Once you have purchased your Platinum Membership, we will be calling you to thank you for becoming a Platinum Membership and to assign seating with you. Thank you for your support.
Limited Platinum Membership select premium seats are available at $550.00 each for the three-day pass. $200.00 of every Platinum Membership ticket ($550.00) price is gifted as a donation.
Note* The gift donation component of the ticket sale is tax-deductible in the USA.
Music. Culture. Community.
The organizers have announced the following acts to perform at the festival. Kings X, Robert Berry’s 3.2, Pattern-Seeking Animals, Ten Jinn, Lobate Scarp & Arc Iris.
More announcements to follow.
Festival Dates: April 15th, 16th, & 17th, 2022 Location: Sarasota Opera House Address: 61 N Pineapple Ave, Sarasota, FL 34236 https://www.sarasotaopera.org/
Ian Anderson Continues 50 YEARS OF JETHRO TULL into its 51st Year (Jethro Tull first tour in North America was in 1969)
Ian Anderson’s 50 Years of Jethro Tull continues in 2019 with tours confirmed in the United States and Europe. Concerts in the States in March, July, and September with confirmed concerts on both coasts in New Jersey, New York, Maryland, New England, and California.
It was on the 2nd of February 1968 at the world-famous Marquee Club in Wardour Street that Jethro Tull first performed under that name. The group would go on to become one of the most successful and enduring bands of their era, selling over 60 million albums worldwide and entering the cultural collective consciousness along the way, playing their first concerts in North America in November and December 1969!
Founder, frontman and flutist, Ian Anderson is rightly credited with introducing the flute to rock as a frontline instrument, not to mention the codpiece!
Jethro Tull is one of the biggest selling Progressive Rock artists of all time, and the group’s immense and diverse catalog of work encompasses folk, blues, classical and heavy rock stylings. The anniversary concerts will feature a broad mix of material, some of it focussing on the earlier formative period through to the “heavy hitters” of the Tull catalog from the albums: This Was, Stand Up, Benefit, Aqualung, Thick As A Brick, Too Old To Rock And Roll: Too Young To Die, Songs From The Wood, Heavy Horses, Crest Of A Knave and even a touch of TAAB2 from 2012.
Anderson says, “We continue to present the 50th Anniversary concerts in many countries and regions not visited in 2018, and also many Tull repertoire shows in Europe. There will be, of course, my usual charitable cathedral and church concerts in December. In the USA – many would argue – 2019 is really the 50th Anniversary for US fans since we first visited in early 1969.”
Ian Anderson is accompanied by Tull band musicians David Goodier (bass), John O’Hara (keyboards), Florian Opahle (guitar), Scott Hammond (drums) and surprise virtual guests
In addition to the tour, look for “the excellent special edition of the Steven Wilson remix and remastered STORMWATCH, now celebrating the 40th Anniversary (with extra material from the sessions and some live concerts).” The official Tull 50th Anniversary book should be released in the first few months of 2019 – watch www.JethroTull.com for more news.
About Jethro Tull
Jethro Tull has released 30 studio and live albums, selling more than 60 million copies worldwide. During their 50-year history, the band has performed over 3,000 concerts in more than 50 countries, playing 100+ concerts each year.
Ian Anderson’s 50 Years of Jethro Tull North American Tour Dates 2019
Local North American 2019 concerts will be announced Monday, December 10, 2018, at 10 AM ET and go on sale Friday, December 14, 2018, at 10 AM Local time. To purchase tickets, please visit www.jethrotull.com
March 9: Ocean Resort Casino – Ovation Hall, Atlantic City, NJ
March 11: The Theater at MGM National Harbor, Oxon Hill, MD
March 12: Mayo Performing Arts Center, Morristown, NJ
July 5: Fantasy Springs Resort Casino, Indio, CA
July 6: Five Point Amphitheatre, Irvine, CA
July 7: San Diego Civic Theatre, San Diego, CA
July 9 – Saratoga, CA – The Mountain Winery* (public on sale April 8, 2019)
September 11: Chevalier Theatre, Medford, MA
September 14 – Queen, NY – Forest Hills Stadium
September 15: Mohegan Sun Arena, Uncasville, CT
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
