Customer Reviews

Divinities

5 star:		(27)
4 star:		(6)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

For those who don't know - though how anyone who doesn't know would be looking at this album, I can't imagine - Ian Anderson is one of the most adept flautists in the music world today, as evidenced by his virtuosic flute work in Jethro Tull. I say 'rarity' above not because Divinities is a hard album to find (it isn't) but because even among the wealth of styles and modes Ian's career has gone through, it still has a place all its own. It's an adept set of classically-tinged instrumentals, melodic and meticulously well-composed. It's even more surprising considering that Ian and fellow Tullian Andrew Giddings squeezed in the recording of these pieces in the middle of their usual rigorous touring. This came at a time when Ian's songwriting was becoming more and more entrenched in Middle Eastern influences, as evidenced by JT's Roots to Branches (which was released the same year). However: this is not Tull music, and it's not likely to be mislabeled as such by anyone even marginally familiar with the group. It's not even likely to be confused with Ian's latest solo work The Secret Language of Birds, which is a whole different kettle of tropical fish. Quite simply, it's a shiny but overlooked gem in a class all its own.

In describing the sound, I'll use a few words you've likely never seen in a Tull review: light, orchestral, meditative and calming. Giddings's keyboard work is quite adept and at the same time expertly understated. Apart from a brief guest spot or two, Andy's keyboards and some shimmering strings form the basis of all the tunes, and Ian's various flutes positively shine as they fill in the melodies. And though the overall tone of the disc is consistently pastoral, there's a nice variety among the different pieces. "In a Black Box," for example, is a quiet Baroque-sounding piece in contrast to the highly worldly "En Afrique." The more modern "Bombay Valentine" goes from some enchanting Giddings piano work into a sublimely dreamy fadeout. That one works perfectly in the classical setting of this album, yet I get the feeling it could have just as easily been a Tull classic with the right electric guitar treatment. "In the Grip of Stronger Stuff" probably isn't the first track to, well, grip your attention, yet its complex weaving lines make it one of the most ultimately fascinating. The band still plays it onstage in between the heavier numbers.

In a mere 45 minutes Ian takes a quick trip through several exotic locales, bringing everything to life with just the right vividness. There's nothing even remotely resembling, say, Minstrel in the Gallery (or any other Tull album for that matter) - Divinities is quite distinct, just as it should be. It's classical-sounding, yet highly accessible to those who don't like classical music. It's simply.. well, I'll just direct you back to my review title above. That says it all.

First and foremost this is an innovative concept. 12 tracks has been portrayed as 12 dances with God(!) and name of the tracks are the name of the places (where the dances with God happens). This is an all instrumental suite from the master of flute, 'Jethro Tull' frontman Ian Anderson. The music is top notch, qualitywise comparable to any record produced ever. This a mixture of Jethro Tull kind of music and western classical with a little touch of Indian Classical music (In The Times Of India). Basically flute and fully instrumental.

If you like Jethro Tull and/or Western Classical, you will be liking this. It is definitely the most underrated album on earth and one of the best albums I listened. So buy it to experience somrthing great.

I think it's one of the best solo-albums in the last ten years.
Well it's not "Jetro tull music" and the whole album is instrumental, but it's so tasteful and suitable for all lovers of classical orchestration...that it will appeal to every fan of prog music as well. Perhaps it's the best effort by Ian Anderson so far and in my opinion it's better than all the latter Jethro Tull albums. The production is excellent and should be well worth checking out!!

Divinities is so intensely atmospheric that I believe NASA should bring it to Mars...and flowers would grow, clouds would form, and birds would spontaneously chirp from suddenly-grown trees. It is truly an inspired album. No vocals -- which, given the state of Anderson's voice on some recent recordings (like the 25th Anniversary Live CD) is, regrettably, a good choice.

This music is best enjoyed at night, with a glass of good wine. It is to be savored.

Ian Anderson of Jethro Tull fame, stretches his musical realm with this incredible collection of well crafted songs.

His flute playing "style" of singing into the flute is replaced with the more traditional sounds of classical flute.

Each song represents his interpretation of the different religions around the world and they cover a wide variety of musical styles.

Since I play the flute myself, I can appreciate (and play along) to most of them (anyone know if sheet music has been released for this?)

Looking forward to his next release!

This album reflects a maturing of Ian and his audience. Exceptional variety with classic Tull overtones. Let your mind flow along with the program and you will lifted and cheered.

I like this record very much, and I can heartily recommend it in good conscience, but I don't want to mislead you: it isn't perfect, and it isn't a masterpiece. (Though it has many lovely and inspired moments, its tunes are sometimes too obvious, and its orchestrations are sometimes tepid.) "Divinities: Twelve Dances with God" is difficult to label: some may call it "world beat", some may call it "new age". I would certainly be steering you awry were I to call it "classical". As for "new age": The problem here is that "Divinities: Twelve Dances with God" is much, much better than anything I've heard going by the rubric "new age". As for "world beat": The rhythms here aren't particularly "exotic" or pan-cultural; the scalar material IS, with particular reference to various kinds of sacred music. (Someone mentioned "Pentatonic Scales for the Jazz Rock Keyboardist" by Jeff Burns. Coincidentally, it treats certain of these scales.) Well, anyway, I expect you'll enjoy "Divinities: Twelve Dances with God"--can't say for sure; I don't actually know you.

For the record, I've been a huge fan of Jethro Tull since 1968 and a great admirer of Ian Anderson's recent work, such as "The Secret Language of Birds." Anderson is, in my estimation, one of the more significant composer/musicians of our day, and his post-Jethro Tull work has been quite wonderful.

Having said that, I am disappointed with his Twelve Dances with God. The music is pretty, in a generic way, but it lacks the compositional intricacy that is the hallmark of Anderson's work. There are few, if any, key modulations, which Anderson does so well in other works. The pieces are all instrumental - flute together with orchestral instruments and the occasional keyboard. They are all pleasant, in a "new age" sort of way, but lacking musical substance. Nice background music for the office or at home, perhaps.

My chief disappointment is that all twelve pieces sound monotonously similar. I assumed that the theme of this album is the diversity of expressions as humans attempt to dance with God. Leaving the theological aspects aside (this is, after all, an album of music not a theological text), I would have expected a greater diversity of rhythm and tune. However, each track seems to flow into the next. Perhaps this is reflective of "new age spirituality" where truth and deity are rather elastic, but that would take some elucidation from Ian Anderson himself. The music itself doesn't seem to have much to say. If these are twelve dances with God, perhaps it would be better to let Him take the lead.

I have been a long time Tull fan and consequently, Ian Anderson.
As mentioned in earlier reviews on this page, this is a true gem and a tribute to Ians ability to be musically creative, fluid and expansive in a musical genre distinctly different from his rock and blues roots.

A beautiful, moving collection of short instrumental pieces written for flute and orchestra. It's a new sound and will be a delightful surprise for the Tull fan. Classic music lovers should also give it a go.