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(More customer reviews)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.
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