I still have an adrenaline rush from our show tonight, and can't sleep yet, so I'm up typing about our show tonight (actually now it's after midnight, so it was last night) at Drom in the East Village, NYC.  For those that haven't been there, it's an interesting club in the heart of the East Village, on Ave. A that usually specializes in bands that play world music, but then again, Jethro Tull has played music over the past 40+ years that is influenced by music from all over the world, so I think we were right at home there.  Our sound was mixed expertly by Tamer, who is also a professional musician, trained in Istanbul--initially in viola, so he did a great job mixing our 2 violinists (Ana and Audrey) and cellist (Anne-Marie).  We started the night off with our early Tull collection:  My Sunday Feeling, To Cry You A Song, then a medley of With You There To Help Me/For A Thousand Mothers, then Teacher and Nothing Is Easy.  After a few words from Paul to the audience, he brought out his mandolin and went into the song Love Story, followed by Bobb doing the bass intro. into A New Day Yesterday.  Up to Me followed (with Renee joining in on glockenspiel, dressed as Nursie), and then Billy Brown (doing his second show with us) played the dark and deadly opening guitar riff of Sweet Dream (and we were joined by our string trio), and we then concluded the first set with the triplet of Third Hoorah/Bungle In The Jungle/Too Old To Rock 'n' Roll: Too Young To Die.  After a short break, Billy started things off with the rock guitar opening of Tull's live version of Minstrel In The Gallery, and then I led us into Hunting Girl with the church organ madrigal-sounding opening (and Renee joined us as the hunting girl). We then lightened things up with one of our favorite additions to our set list, Skating Away (On The Thin Ice Of The New Day) on which I get to come up front with my accordion, and Joe with his bongos, and Renee gets to play on her funky, wooden Flintstones-style marimba.  I then opened up Locomotive Breath, with as much John Evansish style as I could muster, followed by Cross-Eyed Mary, into the My God Flute Solo, on which Paul always shines.  Keeping things instrumental, he then went into Bouree.  Then we tackled the masterpiece Black Satin Dancer (debuted tonight) and I think we held our own fairly well considering its complexity (with our string trio and Billy's guitar solo matching Martin Barre's practically note-for-note making it a highlight for us).  Rainbow Blues followed (and pleasantly surprised one of our audience members, James from the band Edensong, for having made its way into our set list, and has been one of our favorite lesser-known Tull songs to play).  I then played a section of By Kind Permission Of...segueing kinda of nicely into Living In The Past (I thought so anyway!).  We then closed the show with a section of Thick As A Brick (featuring our fiddling violin duo and cellist), and with the last words "to be thick as a...." leading into the opening classic guitar riff of Aqualung, as Tull has done in concert many a time (and it seems to work well!). We had a fantastic (and exhausting!) time and greatly appreciate the people who came out tonight to listen to us (and even dance with us to Thick As A Brick and Aqualung, of all songs!).  Now I'll try to get some sleep, and start tomorrow to get ready for our next gig---an outdoor concert in Morgan Park in Glen Cove, Long Island.  Hope to see you there!.....Mike