JETHRO TULL: The Zealot Gene (ROCK): review / opinion to read on Music Waves

In the middle of this dark year 2021, Ian Anderson announced an unlikely news: Jethro Tull would release a new album 19 years after the last studio production. Since 1969 and until its death sentence in 2014, the English band had guided its listeners through an exciting journey through the land of styles (blues, progressive rock, new world, hard rock, folk) with the common denominator of Ian Anderson's flute skills, his sense of writing and Martin Barre's guitar (except on the first album). We were dreaming of the reformation of the classic line-up for this new opus entitled "The Zealot Gene".

However, Ian Anderson did not call back any Martin Barre, John Evans, Barrie Barlow or Jeffrey Hammond. Around him, we find the faithful crew that has accompanied him in solo for many years. A distracted listening of the album invites us to think that this new production is less in the Jethro Tull of "Songs From The Wood" than in "Homo Erraticus". False advertising? No, Jethro Tull has always reinvented itself over the years and Ian Anderson's solo experience has often influenced his work under the Jethro Tull banner ("Walk Into Light" had a direct influence on "Under Wraps", "Divinities" on "J-Tull Dot Com"). Ian Anderson only wanted to acknowledge the work of these valuable collaborators by allowing them to record under the Jethro Tull name.

For 46 minutes, we are lulled by the sound of Ian Anderson's flute, which dominates the folk-rock compositions. Ian Anderson's playing is as voluptuous and agile as ever. If his voice shows some weaknesses in live performances, it proves to be soft and reassuring here. Joe Parrish-James and Florian Opahle, now the custodians of Jethro Tull's guitar chords, are heard more willingly than on Ian Anderson's two previous solo albums ('The Zealot Gene', 'Barren Beth, Wild Desert John' which have hints of metal folk).

'Mrs Tibbets' is the perfect entry point for the neophyte and its instrumental part evokes memories of the sonic jousting of "A Passion Play" with guitar, flute and organ. Other instruments serve as a bridge between the past and the present: the harmonica that we heard on 'Song For Jeffrey' comes back to haunt us on 'Jacob's Tales', the accordion of 'Sad City Sisters' that brings a Celtic touch evokes the little gem 'A Gift Of Roses' or 'Skating Away', the piano of 'Mine Is The Mountain' transports us directly to the introduction of 'Locomotive Breath'. This quiet journey may seem to lack storms and craziness, with most of the tracks keeping the folk ballad course. However, emotion comes without warning as on 'In Brief Visitation' and its poignant vocals that recall the tormented loves of 'Wond'Ring Again'.

Jethro Tull rises from its ashes and Ian Anderson continues his musical quest for the absolute. If the album is more marked by appeasement and light, the inventiveness of the most famous flute-player is still relevant. With this winning comeback, it is time to dive back into the history and discography of this exceptional band that has crossed the ages without losing its brilliance. - Official website

JETHRO TULL

THE ZEALOT GENE

INSIDEOUT MUSIC

ROCK