Jethro Tull/CA,USA 1.14.1977

Mike Millard’s master excavation series, in which super masterpieces of a class that would have been called “one in a decade” a while ago, appear every month. The latest release is an amazing live album that is rumored to have the highest quality mirrored sound. This work includes “January 14, 1977 Pasadena Performance”. This is a superb audience recording recorded at the heavyweight JETHRO TULL’s “SONGS FROM THE WOOD TOUR”. When I think of “Millard/JETHRO TULL/1977”, I also remember “LOS ANGELES 1977: Mike Millard 1st Gen”, which was discovered last year and received great acclaim. In order to explain the situation around that, let’s first look back at the schedule at that time and confirm the position of the show.・January 14th-23rd: North America #1 (7 performances) ←★Here★ ・February 1st-14th: UK (13 performances) [“SONGS FROM THE WOOD” released on February 11th] ・March 1st – April 10th: North America #2 (33 performances), April 16th – 23rd: Europe #1 (8 performances), May 24th – June 8th: Europe #2 (12 performances). September 4th – 20th: Australia (15 performances) November 4th – December 6th: North America #3 (31 performances) ← *Official video This is JETHRO TULL in 1977. Speaking of the representative sound source of this tour, there is also a Land Bar performance that was made official with the deluxe edition of “SONGS FROM THE WOOD”, but the Pasadena performance of this work is at a much different time. Not only before the release of the album, but also on the first day of the world tour. On the other hand, it was quite close to “LOS ANGELES 1977”, and it was also a concert just two days ago. This work, recorded at such a show, is a super masterpiece that is out of the ordinary. “Common sense” in this case is not so-called “common sense for audience recording.” It even exceeds the “common sense of mirrored recording”, which is the charisma of recording history. From here on, I will proceed with the discussion assuming that you have experienced mirrored recording. This work also retains the individuality and beauty of Millard’s works, but what makes it special is its dynamism. For example, “LOS ANGELES 1977” had a crystal clear atmosphere and a strange dimension of neatness, but the ensemble as a whole was also a bit flat. No, it was quite three-dimensional, but the three-dimensional feeling could be described as a “concavity,” but it could also be described as “notes standing out due to the depth of the silent parts.” In contrast, this work has a “convex three-dimensional feel” in each note. If I had to visually compare this, it would be a 3D movie. Contrary to the old catchphrase of “pop out”, 3D movies use depth to create a three-dimensional effect, but in the real world, the three-dimensional effect really pops out. In other words, while the three-dimensional effect of “LOS ANGELES 1977” is depth, this work feels like a three-dimensional object straight from the natural world. Moreover, this three-dimensional feel dwells in each note, creating a sense of structure throughout the ensemble. In addition to the usual ultra-high sound quality, it is a different-dimensional sound that conveys the “presence” of JETHRO TULL being there. Already, that sound alone makes me dizzy, but actually the show itself is too special. As mentioned above, this tour is based on the official Land Bar performance, so let’s compare the sets.・Stand-up: A New Day Yesterday (Living In The Past) ・Benefit: To Cry You a Song ・Aqualung: Cross-Eyed Mary/Aqualung/Wind-Up/Locomotive Breath (The Dambusters March) ・Gerald’s Immaculate World : Thick As a Brick ・Warchild: Skating Away On The Thin Ice Of The New Day／Bungle In The Jungle (★)／Back-Door Angels ・Minstrel in the Gallery ・Rock’n’Roll, I’m old but I’ll die Too Young to Die: Crazed Institution (★)／Too Old to Rock ‘n’ Roll: Too Young to Die ・Mysterious Forest-Pi Block Suite: Jack-in-the-Green／Fire At Midnight (★)／Songs From The Wood/Velvet Green/Hunting Girl/Others: Instrumental/Symphony No. 9, Op. 125 (Ode to Joy) *Note: Songs marked with a ★ cannot be heard at the official 1977 Land Bar performance. …and it looks like this. Three songs that cannot be heard on the official live album are performed, and this is an extremely rare repertoire in the entire history of JETHRO TULL. It is a song that was played precisely because the trial and error of the set had just begun on the first day, and it is a valuable song that cannot be heard even in “LOS ANGELES 1977”, which is only two days later, let alone in the later stages of the tour. And the performance that plays that rare set is also fresh. As expected, it is not the best super performance of the tour, but it is on a different level from the hundreds of carefully rehearsed bands, and the excitement that was excited at the beginning of the tour life is high. The first day’s set has a sound that is said to be “the best in the Millard Collection” and is full of rare songs. This is a live album that surpasses “LOS ANGELES 1977,” which was acclaimed as a masterpiece in every respect. Unfortunately, the opening scene was not recorded, and it only started from the middle of “Skating Away On The Think Ice Of A New Day” (“Wonderin’ Aloud”, which was probably the opening, is completely missing). The quality is truly miraculous. Live at Civic Auditorium, Pasadena, CA, USA 14th January 1977 ULTIMATE SOUND Disc 1 (60:46) 1. Skating Away (On The Thin Ice Of A New Day) 2. Jack-In-The-Green 3. Crazed Institution 4 . Fire At Midnight 5. Instrumental 6. Thick As A Brick 7. Songs From The Wood 8. To Cry You A Song 9. A New Day Yesterday / Flute Solo incl. Bouree & Quartet / Living In The Past 10. Velvet Green Disc 2 (63:02) 1. MC 2. Too Old To Rock’n’ Roll 3. Bungle In The Jungle 4. Symphony No. 9, Op. 125 (Ode to Joy) 5. Minstrel In The Gallery 6. Hunting Girl 7. Cross-Eyed Mary 8. Aqualung 9. Guitar Solo 10. Wind-Up 11. Back-Door Angels 12. Wind-Up (reprise) 13. Locomotive Breath / The Dambusters March 14. Back-Door Angels (reprise) Ian Anderson – Lead Vocals, Flute, Acoustic Guitar Martin Barre – Guitar John Glascock – Bass, Backing Vocals Barriemore Barlow – Drums, Percussion John Evan – Keyboards David Palmer – Keyboards, Synthesisers