Ian Anderson, mastermind, singer and flutist of the British band Jethro Tullgoes to the 80 – this causes him to implement creative ideas really as soon as possible. “At some point I will no longer be able to do that. So I am driven by the feeling of doing it right away,” he says in our interview. Just has that band her new, 24th album “Curious Ruminant” published. Three albums in just four years – if it goes to Anderson, it could go on like this.
Rolling Stone: Ian, Jethro Tull’s publication rhythm is currently strongly reminiscent of the band’s high phase in the late 1960s and early 1970s- a new album appears almost annually. Where does this creative thrust come from?
Ian Anderson: You know, I’m 77 years old. When I feel inspired, I should implement it right away. Because this opportunity may not exist forever – physically and mentally. At some point I will no longer be able to do that. So I am driven by the feeling of doing it right away. That doesn’t mean that I will wake up tomorrow morning and start a new album right away. But there is a real chance that I will wake up in the next few months and think: “Do you know what, I have an idea for something that makes sense as an album.”
But I don’t plan that. I have to wait for the moment when it suddenly becomes possible – a moment of inspiration and energy. This is a rather dark energy. I don’t know where it comes from. It is a mysterious power of creativity. It cannot be switched on and off like a light switch. But with age you learn to create a better environment for creativity. And for me that means: peace. Loneliness. I find it difficult to think creatively when I am surrounded by many people – family, friends, musicians, the band. I really need spaces of loneliness.
Have you found such a place of calm for yourself?
Next Monday I take the train to a place that is a popular holiday destination for families in summer. But in winter it is empty. Nobody then goes there – except me. I then walk along the promenade, where there are only a few people who run their dogs. There are a few good photo opportunities – I like to take pictures of such places – and I enjoy this loneliness. I enjoy this feeling of space, even if it rains, the wind blows and the sea is raging.
I think that’s an important part of my creativity. That is the right mood. And when I have one or two or three ideas, I am ready to develop them as an album project. That could happen next week, next month, next year. When it happens – then I show it to the record company – and then you say: “Wow, that’s the fourth album in four years now.” Because at some point it is also over. Sometimes it is.
After the last jethro-tull album “Rökflöte” we went on tour-did you have time to take a break since then?
We played concerts by December 2024. We are in Italy next month, but it really starts again in April. In March we rehearse for two days with the band and crew and learn a few songs from the new album again, because we have now forgot them. There are also other songs that we have not played for a long time.
Technical video samples, music samples-we all do our homework. If we come to the rehearsal, we should really know the grades. But at first that is just playing the notes. We also have to perform. That also needs a few runs. I like to think in terms of performance – also for the band.
I then say z. For example: “Passes in this part, here you have something to play” or “Let’s play this part together, with eye contact.” These are things that you work out in the rehearsal. But when the first concert comes, everyone has forgotten what we practiced. It is important to know how to present music as a performance – not just how to play the grades.
Did you still have material from previous sessions in the drawer on the new album? I heard that you used some older demos.
Yes, they were from 2007. They were not finished songs or texts, but a few fragments. I had recorded a piece with our former keyboardist Andrew Giddings, a long piece that I wrote for a duet with an Indian classic flutist. I played both parts myself. Andy didn’t want to do it, had excuses.
So it was just around. We had recorded that on multi -track band, I had Andy’s guitar parts. I brought it out again, recorded new flutes, David Goodier played bass, my son James Anderson drums and cajón. I wrote new texts for this version, and the piece is probably the longest Tull song for a long time-about 19 minutes.
It has also become a cross -generational project – with former members, current and a new one.
Jack Clark played bass with us when David Goodier had to undergo an operation. Later he also jumped in the keyboard for John O’Hara, who was traveling with his family. Jack was part of Joe Parrish-James’ band. Joe was our guitarist in 2022 and 2023, but traveling. He told me he couldn’t stand it anymore.
So we had to find someone new. Jack was the second guitarist at Joe, so we tried it out. He had already played bass and took over the keyboard parts on guitar. He was really good. He played several parts on Jethro Tull’s new album. This is now the third Tull album in a row with a new guitarist. I hope we don’t need a fourth soon …
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