A double dose of Joni Mitchell
By John Paul
December 2007
Herbie Hancock: River, the joni letters
Joni Mitchell: Shine
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Two new discs give us interpretations and originating aspects of an important musical talent. Probably the model for the stereotypical folk singing, long stringy haired chick with a guitar, Joni Mitchell has frequently been more of a jazz artist in her tune constructions than a pop troubadour of simple style and notions.
Premier jazz pianist Herbie Hancock knew this when he featured Joni on his triple Grammy award winning Gershwin’s World a few years back. And anyone who listened and looked at the jazz crew on her most popular album Court and Spark from 1974 would know that her music offers layers of thoughtfulness and expression not normally found on ordinary folk or pop releases.
Hancock has re-harmonised and re-developed eight favourite Mitchell tunes, including several guest vocalists. Norah Jones does a very respectable, moody Court and Spark; Tina Turner does a sultry Edith and the Kingpin; Brazilian newcomer Lucianna Souza, sounding like a younger Joni, smokes Amelia; UK star Corrine Bailey Rae inspires us with River and Joni herself touchingly sings the romantic narrative Teal Leaf Prophecy. Mitchell’s clever Jungle Line poetry gets a gravely voiced reading from Leonard Cohen.
Throughout all this, Hancock introduces and accompanies everybody in his better “French impressionist” Debussy, Ravel or elegant “euro-classicism” style of pianism. Long time associate saxophonist Wayne Shorter weaves lyrically in and around all the vocalists providing depth and texture that is also enhanced by deft guitarist Lionel Loueke and delicate drumming from Vinnie Colaiuta. The latter two musicians heard recently with Hancock in Auckland.
Interestingly on the Shine album, from the object of our attentions, Mitchell plays a whole lot of instruments accompanying herself in ten selections. Saxophonist Bob Sheppard nicely plays a bit like Wayne Shorter, but Joni’s piano skills don’t get near the impossible level of the Master, Hancock. No matter, her accordion, oboe, strings, percussion and other voicings on synthesizer musically complement her dramatic and profound poetry in old and new works.
Bad Dreams is a touching look at fantasy and reality where ones’ superheroes cope with troubles of the day. And the troubles continue with a re-orchestrated Greenie Movement theme Big Yellow Taxi, the all too true “pave paradise, we’ll put up a parking lot” song.
Jazz percussionists Brian Blades, and Paulhino Da Costa, and guitarists Greg Leisz and James Taylor (yes, that 70’s charmer) help out here and there. Particularly on the catchy Night of the Iguana.
Strong and Wrong is a political and religious commentary with a sub-set based on Shock and Awe where one GW Bush (who talked with God last night) inspires some acerbic lines from Joni.
Both of these albums beautifully bridge the concept of quality old and new tunes that inspire, depress, amuse and cause other moods when you give them a listen. Both are well recorded, with all vocals crisp and clean, particularly Joni who is in suprisingly fine voice. Both CDs deserve a place on your player as objects of excellence in writing and execution of intelligent, articulate, lyrical music material.
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