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Joni Mitchell

Joni Mitchell as a musical artist, has been restlessly innovative, her music evolved from deeply personal folk styling into pop, jazz, avant-garde, and even world music, presaging the multicultural experimentation of the 1980s and 1990s by over a decade. Fiercely independent, her work steadfastly resisted the whims of both mainstream audiences and the male-dominated recording industry. While Mitchell's records never sold in the same numbers enjoyed by contemporaries, none experimented so recklessly with their artistic identities or so bravely explored territory outside of the accepted confines of pop music, resulting in a creative legacy which paved the way for performers in a broad range of genres to cover her songs.

Born Roberta Joan Anderson in Fort McLeod, Alberta, Canada, on November 7, 1943, she was stricken with polio at the age of nine; while recovering in a children's hospital, she began her performing career by singing to the other patients. After later teaching herself to play guitar with the aid of a Pete Seeger instruction book, she went to art school, and became a fixture on the folk music scene around Alberta. After relocating to Toronto, she married folksinger Chuck Mitchell in 1965, and began performing under the name Joni Mitchell.

A year later the couple moved to Detroit, MI, but separated soon after; Joni remained in the Motor City, however, and won significant press acclaim for her burgeoning songwriting skills and smoky, distinctive vocals, leading to a string of high-profile performances in New York City. There she became a cause célèbre among the media and other performers; after she signed to Reprise in 1967; David Crosby offered to produce her debut record, a self-titled acoustic effort that appeared the following year. Her songs also found great success with other singers: in 1968, Judy Collins scored a major hit with the Mitchell-penned "Both Sides Now," while Fairport Convention covered "Eastern Rain" and Tom Rush recorded "The Circle Game."

Thanks to all of the outside exposure, Mitchell began to earn a strong cult following; her 1969 sophomore effort, “Clouds,” reached the Top 40, while “Ladies of the Canyon” (’70) did better on the strength of the singles "Big Yellow Taxi," and "Woodstock," a major hit for Crosby Stills Nash & Young. The commercial and critical approval awarded her landmark 1971 record “Blue” was unprecedented: a luminous, starkly confessional set written primarily during a European vacation, the album firmly established Mitchell as one of pop music's most remarkable and insightful talents.

Predictably, she turned away from Blue's incandescent folk with “For the Roses,” (’72) the first of the many major stylistic turns she would take over the course of her daring career. Backed by rock-jazz performer Tom Scott, Mitchell's music began moving into more pop-oriented territory, a change typified by the single "You Turn Me On (I'm a Radio)," her first significant hit. The follow-up, “Court and Spark,”(’74) was her most commercially successful outing: a sparkling, jazz-accented set, it reached the number two spot on the U.S. album charts and launched three hit singles — "Help Me," "Free Man in Paris," and "Raised on Robbery."

After the 1974 live collection “Miles of Aisles,’ Mitchell emerged in 1975 with “The Hissing of Summer Lawns,” a bold, almost avant-garde record that housed her increasingly complex songs in experimental, jazz-inspired settings; "The Jungle Line" introduced the rhythms of African Burundi drums, placing her far ahead of the pop world's mid-'80s fascination with world music. “Hejira,” (’76) recorded with Weather Report bassist Jaco Pastorius, smoothed out the music's more difficult edges while employing minimalist techniques.

Her next effort, two-record set “Don Juan's Reckless Daughter,” (77) was another ambitious move, a collection of long, largely improvisational pieces recorded with jazz players Larry Carlton and Wayne Shorter, Chaka Khan, and a battery of Latin percussionists. Shortly after the record's release, Mitchell was contacted by the legendary jazz bassist Charles Mingus, who invited her to work with him on a musical interpretation of T.S. Eliot's Four Quartets. Mingus, who was suffering from Lou Gehrig's disease, sketched out a series of melodies to which Mitchell added lyrics; however, Mingus died on January 5, 1979, before the record was completed. After Mitchell finished their collaboration on her own, she recorded the songs under the title “Mingus,” which was released the summer after the jazz titan's passing.

Following her second live collection, “Shadows and Light,” (’80) Mitchell returned to pop territory for “Wild Things Run Fast;”(’82) the first single, a cover of the Elvis Presley hit "(You're So Square) Baby I Don't Care," became her first chart single in eight years. Shortly after the album's release, she married bassist/sound engineer Larry Klein, who became a frequent collaborator on much of her subsequent material, including “Dog Eat Dog,”(’85) co-produced by Thomas Dolby. Mitchell's move into electronics continued with 1988's “Chalk Mark in a Rain Storm.”

Mitchell returned to her roots with “Night Ride Home,” (’91) a spare, stripped-down collection spotlighting little more than her voice and acoustic guitar. Prior to recording “Turbulent Indigo,” (’94) she and Klein separated, although he still co-produced the record, which was her most acclaimed work in years. She compiled a pair of anthologies, “Hits and Misses,” (’96) which collected her chart successes as well as underappreciated favorites. A new studio album, “Taming the Tiger,” followed in 1998. “Both Sides Now,” a collection of standards, followed in early 2000.

Two years later, Mitchell resurfaced with the double-disc release “Travelogue.” She announced in October 2002 that this would be her last album ever, for she'd grown tired of the industry. Numerous compilations and remasters appeared between 2002 and 2006, culminating in the release of the independent “Shine” in 2007.

Herbie Hancock, a longtime associate and friend of Mitchell's, also in 2007 released “River: The Joni Letters,” an album paying tribute to Mitchell's work. Among the album's contributors were Norah Jones, Tina Turner, Leonard Cohen, and Mitchell herself, who contributed a vocal to the re-recording of "The Tea Leaf Prophecy (Lay Down Your Arms)" (originally on her album Chalk Mark in a Rain Storm). Hancock's recording won Album of the Year at the Grammy Awards. It was the first time in 43 years that a jazz artist took the top prize at the annual award ceremony. In accepting the award, Hancock paid tribute to Mitchell .At the same ceremony Mitchell won a Grammy for Best Instrumental Pop Performance for the opening track "One Week Last Summer" from her album Shine. Source: Jason Ankeny, Rovi

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Joni Mitchell, Daniel Villarreal, Anthony Wilson, Darcy James Argue & More

by Ludovico Granvassu
September 9, 2023

Unexpected returns, B-sides that sound as good as the A-sides, tributes to rock and folk heroes, Impulse! signing another key band of today's scene, Colorfield Records establishing itself even more as the label to follow... this and more on this week's edition of Mondo Jazz!Happy listening!Playlist Ben Allison “Mondo Jazz Theme (feat. Ted Nash & Pyeng Threadgill)" 0:00 Greg Joseph “Drop the Rock" Drop the Rock (Sunnyside) 0:16 Host talks 6:22 Daniel Villarreal “Sunset Cliffs" Lados ...

Album Review

Joni Mitchell: Joni Mitchell at Newport

Read "Joni Mitchell at Newport" reviewed by Dave Linn

by Dave Linn
August 2, 2023

Just over a year ago, in July 2022, the internet was abuzz with the news that Joni Mitchell had performed at the Newport Folk Festival. After regular gatherings at Mitchell's home by various artists of a younger generation, who saw her as a major influence on their music, they decided to put their so-called “Joni Jam" live on stage. Audience videos of various quality circulated which led to the impression that the get-together, organized by singer Brandi Carlile, Marcus Mumford ...

Radio & Podcasts

New Releases Plus A Birthday Celebration of Joni Mitchell and For The Roses

by Mary Foster Conklin
November 21, 2022

This broadcast presents new releases from from violinist Susan Reed, vocalists Paul Marinaro, Sweet Megg, Caity Georgy and vibraphonist Patricia Brennan, with birthday shoutouts to Joni Mitchell (also celebrating the 50th anniversary of her release For The Roses), Janet Lawson, Bertha Hope, Ernestine Anderson, LaVern Baker, Miho Hazama, Carmen Lundy, Patricia Barber and Amanda Tosoff among others. Thanks for listening and please support the artists you hear by purchasing their music during this time of pandemic so they can continue ...

Radio & Podcasts

New Releases and A Jazz Celebration of the 50th Anniversary of Joni Mitchell's Blue

by Mary Foster Conklin
July 12, 2021

The broadcast presents new releases from Frankie Valli, saxophonist Jasmine Lovell-Smith, vocalist Noa Fort, guitarist Paul Silbergleit and trumpeter Colin Steele, with birthday shoutouts to Rhoda Scott, Melissa Walker and Tierney Sutton. In the second hour—a special jazz celebration for the 50th anniversary of Joni Mitchell's iconic album Blue. Thanks for listening and please support the artists you hear by purchasing their music.Playlist Rhoda Scott & Lady Quartet “I Wanna Move" from We Free Queens (Sunset-Sunside) 00:00 Ian ...

Radio & Podcasts

New Releases and a Celebration of Joni Mitchell

by Mary Foster Conklin
November 20, 2020

The autumn harvest of new releases continues with recordings by Alan Broadbent, Brandi Disterheft, Joel Ross, The Royal Bopsters, Mary Halvorson's Code Girl, Richard Baratta, Ian Hendrickson-Smith, Rebecca Hennessy, Tom Oren and Fred Hersch, with birthday shoutouts to Lauren Henderson, Sarah Jerrom, Kurt Elling, Patricia Barber, Kitty Margolis, Chris Connor and as always, Joni Mitchell. Thanks for listening and please support the artists you hear by purchasing their music during this time of lockdown.Playlist Alan Broadbent Trio “Struttin' ...

Radio & Podcasts

Moon's Up, Night's Up - Taking the Town By Surprise

by Mary Foster Conklin
December 2, 2019

The annual celebratory broadcast for Joni Mitchell included an assortment of her songs by various jazz artists, plus new releases from Jeff Goldblum and the Mildred Snitzer Orchestra, Norah Jones, saxophonist T.K. Blue, singer/poet Lisa B (Lisa Bernstein), and vibraphone artist Lolly Allen; also more birthday shout outs to Chris Conner, Betty Bryant (going strong at 90), Rene Marie, Gregory Porter, Kitty Margolis, guitarist Russell Malone, pianists Sue Palmer, Anne Sajdera and Patricia Barber, among others. Playlist Yoko ...

Radio & Podcasts

Joni Mitchell Turns 75; Remembering Roy Hargrove

by Mary Foster Conklin
December 1, 2018

This post-election broadcast celebrates the new wave of women in the House and Senate -also remembering Roy Hargrove (1969-2018) in the second hour plus a special 75th birthday tribute to Joni Mitchell in the third hour. Playlist Roxy Coss “Nevertheless She Persisted" from The Future Is Female (Posi-Tone) 00:00 Ethel Ennis “If Women Ruled the World" from If Women Ruled the World (Savoy Jazz) 06:25 Jo Stafford “Sugar (That Sugar Baby O' Mine)" from Jo Stafford-Cocktail Hour (Columbia ...

Recording

Jessica Molaskey: Joni Mitchell

Source: JazzWax by Marc Myers
September 11, 2017

If you're a jazz singer who's going to take on a Joni Mitchell tribute album, you had better know what you're doing. To pull it off, you need a keen understanding of Joni's outlook on life and what makes her sophisticated music tick. As a singer, you must sound enough like her to stir the juices of her fans, but you can't simply mimic her recordings. You have to take Joni's music to another place without losing her fingerprints. Walking ...
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Recording

Laurie Antonioli Sings The Music Of Joni Mitchell On Her New Origin CD, Due August 19

Source: Terri Hinte Publicity
July 2, 2014

Vocalist Laurie Antonioli delivers the most personal and soul-baring statement of her esteemed career with the release, on August 19, of Songs of Shadow, Songs of Light: The Music of Joni Mitchell. The CD, her first for the Origin label, finds the acclaimed Bay Area jazz singer returning with obvious passion and inspiration to her earliest musical influence. “Joni’s music is such a part of me, it’s like a second skin,” says Antonioli. “So is jazz, of course, but this ...
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Event

Edel Meade Sings Joni Mitchell At Odessa Club, Dublin, 13 Februaray

Source: All About Jazz
February 6, 2014

Few artists have shaped the landscape of popular music as much as Joni Mitchell. Her poetry, insight and originality have influenced so many that contemporary songwriting without her is unimaginable. Forty-three years after the release of Mitchell's landmark album, Blue (Reprise, 1971), award-winning singer and composer Edel Meade pays tribute to the legendary singer/songwriter with an exclusive headline performance at the Odessa Club Dame Court, Dublin 2. The talented young vocalist will be performing some of Mitchell's most treasured songs, ...
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Performance / Tour

Joni Mitchell Tribute Concert - Marianne Matheny-Katz

Source: The Phillips Agency
November 1, 2013

Award winning Baltimore jazz vocalist Marianne Matheny-Katz presents an evening of Joni Mitchell tunes at The Carlyle Club on Thursday, November 7. The event marks the 70th birthday for Mitchell who began her career as a solo folk singer/songwriter and grew into an internationally respected jazz and pop musician and composer. For this show many tunes are re-worked as straight ahead jazz arrangements, but with enough of the original melody intact to please nostalgic Joni Mitchell fans. Among the show ...
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239

Performance / Tour

Its a Joni Mitchell Concert, Sans Joni

Source: Michael Ricci
April 22, 2010

Actor and performance artist John Kelly channels the iconic singer-songwriter in his tribute show, Paved Paradise: The Art of Joni Mitchell. Even the real Mitchell is a fan.

“People used to say nobody can sing my songs but me they're too personal," Joni Mitchell explained last week during a rare interview. Apparently, nobody told John Kelly not to try adapting her songs. The renowned Obie Award-winning actor and performance artist has been belting out Mitchell's songs for more than 20 ...
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147

Interview

Joni Mitchell, Jazz Musician

Source: Michael Ricci
October 29, 2009

407

Interview

Joni on Point Interview with Joni Mitchell

Source: Michael Ricci
June 7, 2009

With her provocative ballet, The Fiddle and the Drum, Mitchell finds a new grooveand a new lens on her past

Though her 1968 debut album, Song to a Seagull, was no small feat of folk glory, it was by Joni Mitchells third and fourth releasesLadies of the Canyon and Bluethat her status as one of the most significant songwriters of her generation was cemented. Songs like Big Yellow Taxi and California have been kindling to a wide swath of musiciansfrom ...
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242

Recording

Enthralled by Jazz, Joni Mitchell Set New Moods

Source: All About Jazz
April 2, 2009

Joni Mitchell deserves more credit for her early-'80s output. Mitchell's work took an unexpected turn with Mingus, her streaky and often brilliant 1979 collaboration with jazz bassist Charles Mingus.

Before it, she was the sharp-eyed songwriter stringing songs about troubled relationships across vast open prairie. After it, she sounded wiser and hipper, a jazz sophisticate whose melodies came bunched in waves and bursts of scat-singing capriciousness.

According to conventional wisdom Before is where the world-changing stuff can be ...
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124

Recording

Joni Mitchell Hopes to Spread "Fiddle"

Source: All About Jazz
February 21, 2009

With The Fiddle and the Drum, her collaboration with the Alberta Ballet, recently documented on DVD, Joni Mitchell is looking forward to spreading the piece worldwide.

“The whole thing in a certain way is out of my hands," Mitchell tells Billboard.com. “It's going to be featured at the (2010) Winter Olympics in Vancouver. We've had a request from Alabama, of all places, to play. It depends on money and a lot of things.

“My art dealer spoke to someone who ...
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162

Book / Magazine

Trailblazers Selling a Romantic Kind of Love

Source: Michael Ricci
May 13, 2008

Has any pop song evoked a generation's romantic self-infatuation more hauntingly than Joni Mitchell's “Woodstock"?

Sheila Weller, in her book Girls Like Us: Carole King, Joni Mitchell, Carly Simon -- and the Journey of a Generation (Atria Books), which weaves the biographies of these singer-songwriters into a post-feminist history, writes: “It was the first line of the chorus -- 'We are stardust, we are golden' “ -- that “conveyed the impression of hundreds of thousands of people speaking as one." ...
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