University of Virginia Library

'Jethro Tull' Considered
Replacement For 'Cream'

By Don Smith

Before listening to England's
newest group, Jethro Tull, I read all
of the publicity that annually accompanies
promotional records and
discovered (ho hum) that here was
THE group to fill the musical gap
left by Cream when they disbanded
a few months ago. Although Jethro
Tull's first album "This Was" does
not live up to such promotion (and
what album would), their music
deserves a lot more attention than
it probably will receive.

Jethro Tull, named after the
man who invented the plough, is a
quartet led by vocalist Ian
Anderson who also plays flute and
harmonica. The other members of
the group are Mick Abrahams on
guitar, Glen Cornick on bass, and
Clive Bunker, drums. They combine
elements of rock, jazz, and blues in
a group effort with the musical load
evenly divided. Unlike so many pop
groups, Jethro Tull appears, from
the album, to have no one star.
With the possible exception of
flutist Anderson, all are solid
musicians; each contributes to the
total group sound instead of competing
with the others.

Leader Anderson wrote seven of
the ten songs recorded, the best
being "My Sunday Feeling," an
untempo number featuring fine
guitar work by Mick Abrahams.
The song begins with a ramp
allowing brief interplay between
the flute and guitar. This interplay
develops during the guitar solo
which, regrettably, is far too short,
Abrahams hindered, no doubt, by a
producer with his eye on the clock.
The ending hints at what we may
expect from the group as Anderson
grunts (similar to his idol, Roland
Kirk) his flute solo over a walking
bass, taking the song out.

Two other songs on the first side
caught my attention: "Beggar's
Farm" written by Anderson and
"Serenade to a Cuckoo" written by
the multi-talented Roland Kirk.
"Beggar's Farm," a very heavy tune
which conveys the depressed feeling
of the singer to the listener,
possesses a very haunting melody. The song builds to a very emotional
and exciting flute solo at the end
which Anderson, despite his technical
deficiencies, effectively executes.
In contrast to the heavy
approach on other Jethro Tull
numbers, Kirk's "Cuckoo" receives
the lyrical, flowing jazz treatment it
deserves. Unfortunately, Abrahams
does not seem to be a jazz guitarist
for his background work detracts
rather than adds to Anderson's
flute solo.

Side Two, with a more solid
selection of songs, demonstrates the
merits of Jethro Tull to a greater
extent than Side One. While listening
to the five tracks on this side, I
got the feeling that Jethro Tull was
an early Cream. "Dharma for One"
gives drummer Bunker a vehicle for
a drum solo, but it would be
ashame for the group not to
develop ideas in the melody.
Bunker, from his brief solo, appears
to have more potential than the
other songs demonstrate. "Cat's
Squirrel" really shows Bunker at his
best as he drives guitarist Abrahams
along through a free form section.
If the group does much experiment
like "Cat's Squirrel" then this
album hardly shows their full
talents.

Overall, the album is enjoyable
and one which should be heard.
Like so many first albums, it
probably does not do justice to
Jethro Tull. If not, then Jethro
Tull, while probably not being
another Cream, will make a very
vital contribution to popular music.
They have been in the United
States for about three weeks, but so
far have gone unnoticed. Maybe
there is a reason, but I doubt it.
This column will not be the last we
will hear about Jethro Tull.