Tallis - In Alia Musica Spero CD

SKU 23-ANDCD 2021
Dee Palmer (synthesizer, piano, portative organ, vocals)
John Evans (synthesizer, piano)
Dave Bristow (synthesizer, piano)
Bill Worrell (bass guitar, keyboards, vocals
Mickey Barker (drums, percussion, keyboards)

“Back in the late seventies or it could be early eighty, before or after David Palmer and John Evans left Tull, I heard that he they were to form a band called Tallis, so called after the English Rennaissance composer. Then absolutely nothing. Over the years I did wonder if they had ever actually existed, did I just imagine this, then thanks to Dave Rees and his excellent New Day Tull magazine the name Tallis has surfaced once more and even more thanks to Dave Rees and Dee Palmer of course, 40 years after its creation the long lost Tallis album has at last been released on New Day Records. It is stated in the sleeve notes that they discussed the possibility of its release twenty years ago but Dee was reluctant describing it as a work in progress.
Of the music itself, it was created to be played by three (a lot of synths) keyboard players with bass and drums (there is a smidgeon on guitar on a couple of tracks).
The album comes in at a rather brief 43 minutes and it seems to me to be more a miscellany of pieces of music has put together to create the album, just an impression. The Music? Dee Palmer being a classically trained musician, stylistically, its a bit of a hotchpotch of classical, baroque and symphonic prog with elements of folk music. Of the album itself, well as with any mythical album expectations are high so to avoid disappointment a reality check is required. I admit to being not overwhelmed on first spin, I didn’t not enjoy it, let’s just say it didn’t blow me away, but since then with repeated plays I enjoy it, especially early morning, when I crave something a little more sophisticated and less damaging to the ears.
The album is bookended by Disturbed Air and Urban Apocalypse with and without vocals, I think I prefer the latter, the first full of juddery synth beats makes me think Alan Parsons but then again Rick Wakeman on one of his long piano solos. Urban Apocalypse full of time changes brings to fore the influence he had on Tulls music around the time of Songs From the Wood. The following two tracks are accessible classical arrangements of lively Beethoven and Mozart pieces, very bright and fresh they are as well. Worcester Man is the only track which could be described as a song, short, pastoral in nature, voice with piano accompaniment, makes me think Big Big Train. Tallis Canon, Gordon Giltrap guests, instrumental, again brings to elements of folk and baroque and Tull influences. Pachelbel Canon the first track recorded by Tallis in 1977 features John Glascock and Barriemore Barlow of Tull and Bob Foster of Gryphon a relatively unknown but familiar to many placid piece of music. Tracks eight and nine are instrumental versions of tracks one and two, it’s really a personal choice whether one prefers one over the other.
This is one of those albums that certainly will not be for everyone, rock fans will hate it, more a curio, not one to get over excited about, but worth a release? I think so, this keyboard synthesiser electronic mix of classical and original compositions, if nothing else, it is of interest to hear Dee Palmers not insubstantial contribution to Tull’s sound in the late seventies.
All funds raised from this album will go towards to realising a full studio recording of The Waters Edge, a ballet score written by Dee Palmer, Ian Anderson and Martin Barre which was performed a few times in 1979. With a bit of luck this may happen if this sells enough but suffice to say none of us have another forty years to wait on it.”-RateYourMusic
  • LabelA New Day
  • UPC794712431268
Your Price $21.00
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