Jethro Tull
Dot Com

THE REVIEW

The piper of Dunfermline and his court of acolytes present us this album in 1999, a whole 4 years after the last Tullian production (Roots to Branches). One might imagine that after such a long period of waiting, it was reasonable to expect something truly remarkable, given the lengthy gestation. But in reality, during that period, Anderson had already started to take an interest in many other things besides his "creation" Jethro Tull. He began a solo career alongside more or less famous orchestras, experimenting with Tull's music in symphonic versions and other creations independent of Tull. Even the faithful and solid Martin Lancelot Barre released his first solo album during that time.

However, evidently, material had been "brewing" for some time in the ingenious mind of Mr. Anderson, and there was enough of it to make the new J. T. album. It's needless to emphasize that the fusion of multiple genres (something that has always characterized the music of this unique group) finds yet another materialization here. Returning to the fact that fans' expectations were very high, it must be said immediately that the music here reaches a very high technical perfection; the ingenious insights of the early works aren't felt, but come on... it's still classy stuff.

The album begins with a track in full electric Tull style featuring an Andersonian flute "flourish" that couldn't be more so, and the whole band enters immediately after with a great rhythmic shake. The piece is titled Spyral and sees the participation of all five "kids" in a very measured but "strong" way. Perhaps the piece in question isn't excellent, but it's certainly a great start that immediately warms your ears and soul.

The next track is the title track, and it really has a structure that could unsettle all the most die-hard fans, but instead, it immediately wins you over with its delicacy in a vaguely oriental-ethnic atmosphere with Ian blowing with force and sweetness into the bamboo flute. Here, there's also the participation of an oriental singer named Najima Akhtar, who lends the track atmosphere in spades. It seems that (Anderson teaches...) she demanded a nice pile of money to record the counterpoint of this "song".
Another beautiful track, and perhaps the pinnacle of the entire album, is the following Awal. Here we find ourselves facing metropolitan rock atmospheres with enchanting flautist interventions, a sign of a technique almost perfectly achieved by Ian Anderson. But even the bass of the young Jonathan Noyce and the keyboards of the versatile Andrew Giddins (never pompous), are incredibly present.

There are some tracks on this album that can also be easily skipped in a review since they don't represent anything memorable (Wicky windows, Nothing @ all, Black Mamba, El Nino), all fairly anonymous tracks without peaks.

But there's something unexpected, something you'd never expect from the Tull, (and we're at the second "unsettling twist of Dot Com). . . I'm referring to the song Hot Mambo Flush, with rhythms halfway between tropical and calypso music with a particularly virtuosic Martin Barre on acoustic guitar and in the "reprise" of the piece in question, the tropical aspect multiplies. Well, a nice shot of novelty.

Another attractive moment is represented by the track Bends like a willow. And here, the guitar and keyboards lead the way, blending into a unique sound, but never pompous, in fact... decidedly atmospheric and worthy of Ian's voice, which here is colored almost like in the glory days. Also noteworthy is the drumming of "Big Boy" Doane Perry, who truly excels in skill, especially in the hi-hat play. A piece that on a fairly syncopated rhythm and with a superb arrangement really takes you down beautiful paths.

The closure is entrusted to a truly intriguing blues-folk piece titled The dog ear's year and to a splendid electric folk fresco with accordion interventions by the talented keyboardist Andrew Giddins.

So, what to say? I believe that if a band's album like this is to be based on what it has done before, maybe the judgment should be positive but not excessively so. However, if (and I think it's more fair) a work is to be judged also based on the musical climate of the period and the prevailing trends, then Dot Com is a work that is darn well worth listening to. A robust, refined rock, now sweet, now dreamy, now aggressive... if you think about it, what is all this if not the magical music that the Tull has been gifting us for 38 years?