From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2006 #49 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe: mailto:joni-digest-request@smoe.org?body=unsubscribe Archives: http://www.smoe.org/lists/joni Website: http://jonimitchell.com JMDL Digest Wednesday, February 8 2006 Volume 2006 : Number 049 ========== TOPICS and authors in this Digest: -------- Joni at Wembley 83 dvd Vine (anyone?) [Lucatello Adriano ] Re: Sonya Kitchell, first impression, njc [J Kendel Johnson ] Tom Rush's son Ben's New Orleans Photography Project njc [RoseMJoy@aol.co] When I first saw your Gallery, I liked the ones of Joni... [RoseMJoy@aol.] Suzanne - Joni etc. [Oddmund Kaarevik ] Re: Suzanne - Joni etc. ["Gerald A. Notaro" ] Re: Sonya Kitchell, first impression, njc [Randy Remote ] Brokeback Redux - NJC ["Gerald A. Notaro" ] Podcast Interview (njc) ["Sherelle Smith" ] Re: JMDL Digest V2006 #48 [Box of Paints ] Re: JMDL Digest V2006 #48 [Box of Paints ] Re: Richard Thompson [Bob Muller ] Re: JMDL Digest V2006 #48 [Deb Messling ] Questions, questions, question... [Bob Muller ] Re: JMDL Digest V2006 #48 [Randy Remote ] Re: JMDL Digest V2006 #48 [karen ] Re: JMDL Digest V2006 #48 ["JR" ] Re: JMDL Digest V2006 #48 [JRMCo1@aol.com] Re: JMDL Digest V2006 #48 [karen ] '68 Live Recording ["Snatch N. Grabster" ] Re: JMDL Digest V2006 #48 [Randy Remote ] Old Town School ["Snatch N. Grabster" ] Re: JMDL Digest V2006 #48 [vince ] Re: JMDL Digest V2006 #48 [vince ] Re: JMDL Digest V2006 #48 [Brian Gross ] ---------------------------------------------------------------------- Date: Wed, 8 Feb 2006 11:42:00 +0100 From: Lucatello Adriano Subject: Joni at Wembley 83 dvd Vine (anyone?) On 8 Feb 2006, at 09:00, JMDL Digest wrote: > > Date: Tue, 7 Feb 2006 12:45:46 -0000 > From: Duarte Moniz > Subject: Joni at Wembley 83 dvd Vine > > Box of Paints [jamiezubairi@gmail.com] will reoffer soon. > > ------------------------------ > This is to thank Randy for his kind offer to pass on the "Joni at Wembley 83" dvd, I received it yesterday and I wish to honour the promise to send it along to the first person who would like to receive it. Please e-mail me separately at lucatell@ictp.it with your snail address. Ciao from sunny Italy! Adriano ------------------------------ Date: Wed, 8 Feb 2006 04:19:50 -0800 (PST) From: J Kendel Johnson Subject: Re: Sonya Kitchell, first impression, njc Yes, Julius, totally serious about Nora. Her hair was pulled back in a tight bun, and she's much shorter and smaller than I'd realized, so it could have been possible she was there for Sonya's set and just totally blended in with the friends she seemed to be there with. In a funny twist I had not thought about until now, Sonya, as it turns out, was staying at my hotel -- the Salisbury, across W. 57th from Carnegie Hall -- and my sister and I saw her standing out in front of the hotel on Weds afternoon, holding a guitar case upright in front of her and chatting with the doorman as she waited at the curb for someone to come pick her up. I asked my sister which tribute performer she thought the girl might be, not having laid eyes on Sonya before, and, of course, she -- thiinking I was just a little overexcited about that evening's concert -- said "Oh, J, every girl with a guitar in town is not playing at Carnegie Hall this evening."!!! A couple of other guests in the hotel said they rode the elevator with Sonya, and echoed your experience of a very sweet, humble young woman. Back to Nora, running into her -- almost literally -- was startling to me because I have been experiencing some of the proverbial "degrees of separation" from her since I first learned of her debut album. My son was a freshman at the downtown Dallas arts magnet high school the year after Nora graduated, and, perhaps a more profound happenstance, one of my close childhood friends (who's still a friend) and his wife were actually responsible for Nora's parents first meeting! J JRMCo1@aol.com wrote: I didn't see Nora Jones there, but would've loved to! Are you serious? I've liked Nora's stuff to date, especially her duet with Ray Charles. Joni's said she likes Nora's work, too. And you know what a rare compliment that is. I did get to have all kinds of quality time with Sonya Kitchell at the Living Room in NYC that night though. Before and after her 9 o'clock set. We ten or so JMDLers got to the venue bit early. I decided upstairs in the pool room area would be a cool place to hang until we could be seated for the show. Like clockwork, there's Sonya Kitchell, sitting pretty on a couch with her band mulling over their setlist. I smiled to myself and hand-signaled for Paz and Cassy to come join me upstairs, while hoping they could lip-read my saying: "She's up here..." So, we played it cool and had our cocktails on an adjacent couch, just taking in the Living Room really and chilling amongst ourselves. By and by we introduced ourselves and exchanged various pleasantries about Carnegie, her burgeoning career, Starbucks, etc. She is really a total sweetie pie...humble, engaging, cheerful, respectful, funny, soulful and a prodigy/genius in my opinion. Their set was really very special and intimate and musically proficient. The keyboard kid was brooding and intense, playing with emotion and his eyes closed most of the time, tuned in to Sonya and the rest of the band. Sonya's not only a great singer, but I also found her guitar skills quite advanced. She was all over the neck of her guitar playing bar-chords and leads with relative ease. Her stage presence was palpably cool, but she was self-effacing and "this is a piece of cake" at ease. The 11 or so of us JMDLers, who were sitting way up close to the stage, engaged in friendly banter with her throughout the show. One of Sonya's people came by our table and gave us all pins with Sonya's likeness on them. And in synchro, the pins he gave us were the same size, color and profile angle as the Joni badges Cassy had made to commemorate the Joni Tribute, and which we were all wearing at the time. That was bizarre. But I had gotten used to such curiosities things, as it was happening 24-7 in New York during this Jonifest. I think Cassy might have gotten some photos of the set that night. After the show more hanging with Sonya as she simply blended with the Living Room crowd....giving hugs, chewing the fat and signing CDs. I bought both her discs and had her sign them to "Julius." The writing looks like a very young lady's and she dotted her "i" with the shape of a heart, just like a little girl. But both her CDs are excellent by any standard, and this young woman is super-musically mature. The first one was recorded when she was...13 years old. The quality is superior, even though she tried to steer me mostly to her new disc. Her humility is so refreshing I could cry. Didn't though. Smiled...alot. Sonya Kitchell. Super-nice person and excellent musician. Pure joy, she is. I caught a rising star. I'm certain of it. Her music sends me. - -Julius In a message dated 2/7/06 9:50:20 PM, jkendel2002@yahoo.com writes: "Jim L'Hommedieu, Lama" wrote: She's got a carmel-chocolate tone, like Nora Jones too. I could listen to this voice for an hour, yeah. Funny Jim should mention Nora. My friend Christina and I went to The Living Room Thursday night, but arrived too late to catch Sonya's set. Still, we were curious about the venue, so we went on in. Just as I approached the velvet curtains separating the front bar from the back music room, Nora Jones parted the curtains and stepped out from between them! I tried to be cool, but my eyes got big as saucers, I know. Have other folks mentioned seeing her there? I haven't been able to read everything on the list since the NYC tribute. J ------------------------------ Date: Wed, 08 Feb 2006 07:43:27 -0500 From: karen Subject: Re: JMDL Digest V2006 #48 Hi everyone! Some Joni questions for ya. Joni used to be managed Elliott Roberts (who I am familiar with because of my psychotic Neil Young worship; Elliott has been Neil's manager forever, and shadows him wherever he goes.)...I understand that Elliott no longer manages Joni, but I thought he did so for a long time? Am I wrong about that? Also, Joel Bernstein, who also works for Neil, has a Joni connection, does he not? Joel is currently Neil's archivist, but I know he took some of Joni's album cover photos (the ice skating one, maybe?) Also, speaking of my psychotic Neil Worship, how could I have not said that "Circle Game" was my favorite song. Written about Neil, right? In response to Sugar Mountain. : ) Do you all know Neil's (unrecorded) song "Sweet Joni (from Saskatoon)" ? I have it if you don't. Happy to share. And ... Do you all know the story about when Joni performed in Chicago for a benefit for the re-opening of the Olde Towne Folk School? Five or six years ago, I think? Good story, I'll tell you if you don't know it, but you probably already do. Anyway, just wondering about Joni this morning ... Told ya I didn't know a lot of stuff! : ) Good morning. best,karen ------------------------------ Date: Wed, 8 Feb 2006 05:12:47 -0800 (PST) From: J Kendel Johnson Subject: Re: Sonya Kitchell, first impression, njc Oh, and did I mention that I attended the same high school in Lawton, Oklahoma as Nora's mother, Sue -- and that Sue had come to Dallas on a job hunting visit from Lawton the day she met Nora's father? JRMCo1@aol.com wrote: I didn't see Nora Jones there, but would've loved to! Are you serious? I've liked Nora's stuff to date, especially her duet with Ray Charles. Joni's said she likes Nora's work, too. And you know what a rare compliment that is. I did get to have all kinds of quality time with Sonya Kitchell at the Living Room in NYC that night though. Before and after her 9 o'clock set. We ten or so JMDLers got to the venue bit early. I decided upstairs in the pool room area would be a cool place to hang until we could be seated for the show. Like clockwork, there's Sonya Kitchell, sitting pretty on a couch with her band mulling over their setlist. I smiled to myself and hand-signaled for Paz and Cassy to come join me upstairs, while hoping they could lip-read my saying: "She's up here..." So, we played it cool and had our cocktails on an adjacent couch, just taking in the Living Room really and chilling amongst ourselves. By and by we introduced ourselves and exchanged various pleasantries about Carnegie, her burgeoning career, Starbucks, etc. She is really a total sweetie pie...humble, engaging, cheerful, respectful, funny, soulful and a prodigy/genius in my opinion. Their set was really very special and intimate and musically proficient. The keyboard kid was brooding and intense, playing with emotion and his eyes closed most of the time, tuned in to Sonya and the rest of the band. Sonya's not only a great singer, but I also found her guitar skills quite advanced. She was all over the neck of her guitar playing bar-chords and leads with relative ease. Her stage presence was palpably cool, but she was self-effacing and "this is a piece of cake" at ease. The 11 or so of us JMDLers, who were sitting way up close to the stage, engaged in friendly banter with her throughout the show. One of Sonya's people came by our table and gave us all pins with Sonya's likeness on them. And in synchro, the pins he gave us were the same size, color and profile angle as the Joni badges Cassy had made to commemorate the Joni Tribute, and which we were all wearing at the time. That was bizarre. But I had gotten used to such curiosities things, as it was happening 24-7 in New York during this Jonifest. I think Cassy might have gotten some photos of the set that night. After the show more hanging with Sonya as she simply blended with the Living Room crowd....giving hugs, chewing the fat and signing CDs. I bought both her discs and had her sign them to "Julius." The writing looks like a very young lady's and she dotted her "i" with the shape of a heart, just like a little girl. But both her CDs are excellent by any standard, and this young woman is super-musically mature. The first one was recorded when she was...13 years old. The quality is superior, even though she tried to steer me mostly to her new disc. Her humility is so refreshing I could cry. Didn't though. Smiled...alot. Sonya Kitchell. Super-nice person and excellent musician. Pure joy, she is. I caught a rising star. I'm certain of it. Her music sends me. - -Julius In a message dated 2/7/06 9:50:20 PM, jkendel2002@yahoo.com writes: "Jim L'Hommedieu, Lama" wrote: She's got a carmel-chocolate tone, like Nora Jones too. I could listen to this voice for an hour, yeah. Funny Jim should mention Nora. My friend Christina and I went to The Living Room Thursday night, but arrived too late to catch Sonya's set. Still, we were curious about the venue, so we went on in. Just as I approached the velvet curtains separating the front bar from the back music room, Nora Jones parted the curtains and stepped out from between them! I tried to be cool, but my eyes got big as saucers, I know. Have other folks mentioned seeing her there? I haven't been able to read everything on the list since the NYC tribute. J ------------------------------ Date: Wed, 8 Feb 2006 09:06:26 EST From: RoseMJoy@aol.com Subject: Fwd: A Star in the Making - Sonya Kitchell Peak Performance! njc Return-Path: Received: from rly-yi05.mx.aol.com (rly-yi05.mail.aol.com [172.18.180.133]) by air-yi04.mail.aol.com (vx) with ESMTP id MAILINYI43-7d043e7fa173e4; Mon, 06 Feb 2006 20:39:07 -0500 Received: from mail.dat-e-baseonline.com (mail.dat-e-baseonline.com [66.186.15.207]) by rly-yi05.mx.aol.com (vx) with ESMTP id MAILRELAYINYI54-7d043e7fa173e4; Mon, 06 Feb 2006 20:38:31 -0500 Received: from earth ([192.168.100.3]) by mail.dat-e-baseonline.com (8.13.5/8.13.1) with SMTP id k171ZiFd011928 for ; Mon, 6 Feb 2006 17:37:44 -0800 Message-Id: <200602070137.k171ZiFd011928@mail.dat-e-baseonline.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" From: The Peak LAB To: Rose M Subject: A Star in the Making - Sonya Kitchell Peak Performance! Date: Mon, 06 Feb 2006 17:38:23 PST X-AOL-IP: 66.186.15.207 X-Mailer: Unknown (No Version) X-Converted-To-Plain-Text: from multipart/alternative by demime 0.97c-p1 X-Converted-To-Plain-Text: Alternative section used was text/plain Dear Rose M, Her name is Sonya Kitchell and she's 16 years old. She is often compared to Nina Simone, Ella Fitzgerald, Joni Mitchell and more recently to Norah Jones. In the next few months you'll see her on 60 Minutes, Jay Leno, David Letterman and be able to buy her debut full-length CD "Words Came Back To Me" both in Starbucks and regular retail outlets. In short, a whole lot of amazing things are about to start happening for this eloquent singer/songwriter and native of rural western Massachusetts. Because you're a member of The Peak's Listener Advisory Board, you get a chance to see Sonya in a very private (never advertised on the air) Peak Performance this Saturday afternoon February 11th at 1PM at ACME Recording and Mastering in Mamaroneck. Sonya is bringing her fantastic band and will play lots of songs from her forthcoming debut CD. Here's a link that will allow you to listen to lots of Sonya's music and get to know her - Sonya Kitchell Radio Player. (http://www.sonyakitchell.com/radioplayer/) If you'd like to join us, just click here (http://www.dat-e-baseonline.com/front/deb.asp?zx=99) to log into the LAB and register. We have just 7 pairs of invitations for this very special and private Peak Performance. Here's your chance to take in a rare Saturday Peak Performance and maybe see the birth of an artist you'll be hearing lots from in the future! This is a promotional message from 107.1 The Peak WXPK - 56 Lafayette Ave. Suite 370, White Plains, NY 10603 Click here to edit profile. http://www.dat-e-baseonline.com/front/checkemail.asp?arg=8F7D996B867E7C6662707B Click here to unsubscribe. http://www.dat-e-baseonline.com/front/us.asp?arg=8F9592917BBA82606671797D727B ------------------------------ Date: Wed, 08 Feb 2006 09:02:12 -0600 From: "Donna Binkley" Subject: RE: Joni quiz, njc Thanks for your sweet compliment Bob! Wish we were all back in NYC again instead of at work! love ya, db >>> "Jim L'Hommedieu, Lama" 2/7/2006 11:35:19 AM >>> Sheesh. Okay, but I still got 4 right. I'll apologize in my weekly batch on Sunday. Nyuck, nyuck, nyuck. All the best, Jim From: Bob Muller [mailto:scjoniguy@yahoo.com] Lama, you flunked your own quiz! 3. Bonnie's fabulous take on TSATM remains the high bar for the song, but it was never released as a single. Was not a hit. 4. Judy Collins recorded The Circle Game? That's news to me. 7. Joni didn't hire Tom Dolby - he was one of the many outsiders foisted on her by Klein. But you can have the last laugh on me, Jim...Thursday night at Rockwood I commented on Donna's wonderful performance of "I Think I Understand" and said it was from LOTC. I could say that I was under the influence, but I was sober as a judge. That's a 2-point violation on my JMDL license, I'm gonna have to be more careful. ------------------------------ Date: Wed, 8 Feb 2006 12:37:16 EST From: RoseMJoy@aol.com Subject: Tom Rush's son Ben's New Orleans Photography Project njc While having dinner after the Tribute we hadthe pleasure to meet Tom Rush and his son Benjamin Orion Rush. He's a photographer who captured some of the aftermath that Katrina and Rita left on The Crescent City. They may be viewed at his website _www.orionrush.com_ (http://www.orionrush.com) ------------------------------ Date: Wed, 8 Feb 2006 14:38:06 EST From: RoseMJoy@aol.com Subject: When I first saw your Gallery, I liked the ones of Joni... The Jack Robinson Archive For those of us who had the rad pleasure of attending Julius's pre-party at the Citigroup Cafe I'm sure you took notice of the awesome photograph taken by the legendary Jack Robinson for Vogue Magazine in 1968. Only one of these photos was used, but he took 60 shots which were just amazingly beautiful. She appeared to have been very relaxed with Jack as I'm sure you can see. These photographs are available for sale and the prices range from low end budget to high. Feel free to browse some of the photographs which are available for all to see on the new and improved Joni Mitchell.com site. If anyone is interested to own one, please do not hesitate to contact Dan Oppenheimer at the Jack Robinson Gallery in Memphis, TN. Email: (901) 619-4478 _info@robinsonarchive.com_ (mailto:info@robinsonarchive.com) _www.robinsonarchive.com _ (http://www.robinsonarchive.com ) He is VERY friendly. Don't forget to mention where you saw the photos. Check out the ones of Beale Street and the Old Daisy, the New Daisy Theatre, and Handy Park. Maybe if you look hard, you'll find "Furry" Some of these date back to the 40's! I am just blown away by them. thanks for the bandwidth... Rosie ------------------------------ Date: Wed, 8 Feb 2006 20:17:02 +0100 From: Oddmund Kaarevik Subject: Suzanne - Joni etc. As some of you may remember - I pointed out - before the Tribute Concert - that Joni in some interviews have pointed out her dislike of Suzanne Vega. When people have compared her music to Suzanne's shes said "Well - yeah - with no heart in it" Typical Joni - And in that respect I would say Joni is Ms. Arrogant of the two. But - I love Joni -despite or maybe becuse of that. She can be as arrogant as she wishes - she is SIQUOMB- anyways. I would say that it is great of Suzanne to take part in the concert - and pay her tribute to Joni - even though Joni pays none to her. Maybe that one was one of the reasons Joni did not came - some of the artists -so little in her spirit? I like Suzanne Vega. And I like Joni Mitchell. Or I love Joni. Suzanne can never compete with her. But her two first albums are so great. The song "Crackin" - "Luka" "Marlene on the Wall" and "Tom's diner" They're classics - and stood out in the time they were made as something different - something closer - something real. I know that Suzanne Vega has suffered badly - her late husband - abondoned her for the younger and better looking woman singing in "Ally McBeal" - disaster! I find it sad to hear that she doesn't seem able to give anything anylonger. It seems to me that she has turned more like The Queen - in "The Queen and the soldier" than anything else - but can we blame her for that? She's suffered her losses - she lives in NYC- she has to take care of herself- and I guess it was a great relief and comfort for Ms Vega to have Lou Reed accompanying her at the Carnegie event. They are both arrogant. Just as Joni is. And as we forgive Joni for that (Our Dear Lady of Duality) I believe we should forgive them too. They do they're best - and they have both given they're share to us- the human race through their arts and music. And I am grateful for that. I want to write a letter to Joni Mitchell - I guess this is impossible. I guess she never answers or opens her fan-mail - but maybe Julius or someone could give me the adress to her secretary - and maybe - they can - if they are allowed- hand it to her? Love Oddmund, Norway ------------------------------ Date: Wed, 8 Feb 2006 15:21:20 -0500 (EST) From: "Gerald A. Notaro" Subject: Re: Suzanne - Joni etc. Oddmund Kaarevik wrote: and I guess it was a great relief > and comfort for Ms Vega to have Lou Reed accompanying her at the Carnegie > event. They are both arrogant. They may both be arrogant, but Lou was there accompanying his long time love, Laurie Anderson. Jerry ------------------------------ Date: Wed, 08 Feb 2006 12:41:30 -0800 From: Randy Remote Subject: Re: Sonya Kitchell, first impression, njc > Oh, and did I mention that I attended the same high school in Lawton, > Oklahoma as Nora's mother, Sue -- and that Sue had come to Dallas on a job > hunting visit from Lawton the day she met Nora's father? Interesting. Her father, of course, is Ravi Shankar. ------------------------------ Date: Wed, 8 Feb 2006 16:17:02 -0500 (EST) From: "Gerald A. Notaro" Subject: Richard Thompson There is a new 5 cd box set, The Life and Music of Richard Thompson, which includes "rarities, unreleased tracks, covers, and live workouts." Hey, Muller, might there be a Joni cover on it???? Jerry P.S. Hint, Hint Ms Mitchell. ------------------------------ Date: Wed, 8 Feb 2006 16:28:22 -0500 (EST) From: "Gerald A. Notaro" Subject: Brokeback Redux - NJC Please forgive me. I couldn't resist. Jerry Grocery Lists for Ennis Del Mar and Jack Twist for Brokeback Summer, 1963 WEEK ONE Beans Bacon Coffee Whiskey WEEK TWO Beans Ham Coffee Whiskey WEEK THREE Beans Bacon Coffee Whiskey K-Y WEEK FOUR Beans Pancetta Coffee (espresso grind) Whiskey 2 tubes K-Y WEEK FIVE Fresh Fava beans Jasmine rice Prosciutto, approx. 8 ounces, thinly sliced Medallions of veal Porcini mushrooms 1/2 pint of heavy whipping cream 1 Cub Scout uniform, size 42 long 5-6 bottles good Chardonnay 1 large bottle Astro-glide WEEK SIX Yukon Gold potatoes Heavy whipping cream Asparagus (very thin) Eggs Lemons Gruyere cheese (well aged) Walnuts Arugula Butter Olive oil Balsamic vinegar 6 yards white silk organdy 6 yards pale ivory taffeta Case of Chardonnay Large tin Crisco ------------------------------ Date: Wed, 08 Feb 2006 21:55:54 +0000 From: "Sherelle Smith" Subject: Podcast Interview (njc) Hi there! I'm still buzzing over New York and meeting everyone at the pre-concert reception. There were a lot of Joni-listers wishing me well and I "so" took all that love into my heart. Saturday the 4th I had the opportunity to be interviewed by a very nice person with a podcast program out of Denver. It posted to the Internet Monday night and I'm very proud of it and would like you to check it out if you can. The only thing is he said I toured nation-wide with a group listed in my bio and I didn't catch it. It is closer to the East side of the nation! (smile) Anyway, if you can check it out, I would love you to! Love, Sherelle http://www.ronaldlewis.com/interviews/ ------------------------------ Date: Wed, 8 Feb 2006 22:35:11 +0000 From: Box of Paints Subject: Re: JMDL Digest V2006 #48 Hi Karen I can answer *some* of your questions... Yes Elliot Roberts (nee Rabinowitz) did manage Joni during the 60's and 70's but once she migrated to Geffen (or something) she was managed by Peter Asher of Asher Krost Management. Peter is Jane Asher's brother, who used to date Paul Macartney who used to be in an English band... And Joel is ofter quoted by Joni as her 'annex memory' as not only does he take photographs of that crowd but also he knows her guitar songs inside out, every tuning, every voicing, so anytime she wants to play a song for a tour, I guess she calls him up. Apparently he is also working on a Joni Archive but really, I don't see a better one than jonimitchell.com ;-) Much Joni to you Jamie Zoob On 08/02/06, karen wrote: > Hi everyone! > > Some Joni questions for ya. > > Joni used to be managed Elliott Roberts (who I am familiar with because of > my psychotic Neil Young worship; Elliott has been Neil's manager forever, > and shadows him wherever he goes.)...I understand that Elliott no longer > manages Joni, but I thought he did so for a long time? Am I wrong about > that? > > Also, Joel Bernstein, who also works for Neil, has a Joni connection, does > he not? Joel is currently Neil's archivist, but I know he took some of > Joni's album cover photos (the ice skating one, maybe?) > > > Anyway, just wondering about Joni this morning ... Told ya I didn't know a > lot of stuff! : ) > > Good morning. > > best,karen > - -- I am a lonely Painter I live in a Box of Paints I'm frightened by the devil But I'm drawn to those ones that 'aint afraid... ------------------------------ Date: Wed, 8 Feb 2006 22:35:11 +0000 From: Box of Paints Subject: Re: JMDL Digest V2006 #48 Hi Karen I can answer *some* of your questions... Yes Elliot Roberts (nee Rabinowitz) did manage Joni during the 60's and 70's but once she migrated to Geffen (or something) she was managed by Peter Asher of Asher Krost Management. Peter is Jane Asher's brother, who used to date Paul Macartney who used to be in an English band... And Joel is ofter quoted by Joni as her 'annex memory' as not only does he take photographs of that crowd but also he knows her guitar songs inside out, every tuning, every voicing, so anytime she wants to play a song for a tour, I guess she calls him up. Apparently he is also working on a Joni Archive but really, I don't see a better one than jonimitchell.com ;-) Much Joni to you Jamie Zoob On 08/02/06, karen wrote: > Hi everyone! > > Some Joni questions for ya. > > Joni used to be managed Elliott Roberts (who I am familiar with because of > my psychotic Neil Young worship; Elliott has been Neil's manager forever, > and shadows him wherever he goes.)...I understand that Elliott no longer > manages Joni, but I thought he did so for a long time? Am I wrong about > that? > > Also, Joel Bernstein, who also works for Neil, has a Joni connection, does > he not? Joel is currently Neil's archivist, but I know he took some of > Joni's album cover photos (the ice skating one, maybe?) > > > Anyway, just wondering about Joni this morning ... Told ya I didn't know a > lot of stuff! : ) > > Good morning. > > best,karen > - -- I am a lonely Painter I live in a Box of Paints I'm frightened by the devil But I'm drawn to those ones that 'aint afraid... ------------------------------ Date: Wed, 8 Feb 2006 15:38:41 -0800 (PST) From: Bob Muller Subject: Re: Richard Thompson Subject: Re: JMDL Digest V2006 #48 Tell us about the Chicago benefit, please. I do recall hearing about it but don't remember much. I vaguely remember some snippy press coverage about the fact that Joni wasn't folky enough for the Olde Towne Folk School. At 07:43 AM 2/8/2006, you wrote: >And ... Do you all know the story about when Joni performed in Chicago for a >benefit for the re-opening of the Olde Towne Folk School? Five or six years >ago, I think? Good story, I'll tell you if you don't know it, but you >probably already do. > - ---------------------------------------------------------------------- Deb Messling -^..^- dlmessling@rcn.com - ---------------------------------------------------------------------- ------------------------------ Date: Wed, 8 Feb 2006 15:46:29 -0800 (PST) From: Bob Muller Subject: Questions, questions, question... And Peter's wife is Betsy Asher, the "Betsy" in Moon at the Window and Song For Sharon. And longtime JMDLer's will recall that Old Towne show in Chicago, we got the news firsthand from someone who had an usher sneak them in. But we're always ready for a good story, and I'll bet LOTS of folks haven't heard it, so spill away, Karen. And lots of us have heard Neil's "Sweet Joan", it's included on the Second Fret Sets collection that's been heavily traded/distributed. At least it's ONE song where we know for sure who she was singing about! Bob NP: Neil Young, "He Was The King" - --------------------------------- Yahoo! Messenger- Start an email from Y! Messenger, plus be alerted when new emails arrive. ------------------------------ Date: Wed, 08 Feb 2006 15:48:53 -0800 From: Randy Remote Subject: Re: JMDL Digest V2006 #48 > Yes Elliot Roberts (nee Rabinowitz) did manage Joni during the 60's > and 70's but once she migrated to Geffen (or something) she was > managed by Peter Asher of Asher Krost Management. Peter is Jane > Asher's brother, who used to date Paul Macartney who used to be in an > English band... He was also Peter of Peter & Gordon fame, who had a hit with the Lennon/McCartney penned "World Without Love", as well as producer of Linda Ronstadt's big hit albums. > > And Joel is ofter quoted by Joni as her 'annex memory' as not only > does he take photographs of that crowd but also he knows her guitar > songs inside out, every tuning, every voicing, so anytime she wants to > play a song for a tour, I guess she calls him up. Apparently he is > also working on a Joni Archive but really, I don't see a better one > than jonimitchell.com ;-) Supposedly, when he finishes compiling the mammoth Neil Young unreleased series project, he is going to work on a Joni boxset; may we (and he) live that long. RR ------------------------------ Date: Wed, 08 Feb 2006 18:52:57 -0500 From: karen Subject: Re: JMDL Digest V2006 #48 OK, well, I have a good friend who lives in Chicago and she was there, she is not a huge Joni fan but her partner is. Anyway. It was of course, a thrill, that Joni was going to be performing, so everyone was very excited. Towards the end of what was, I gather, a short-ish set, Joni noticed that a man in the front row yawned. (!!!) She got up, put down her guitar or whatever it was she was playing, and said "Get some sleep, Chicago," and walked off stage, (or maybe it was "Wake Up, Chicago,"), not sure, and she did NOT come back out. She was supposed to do a whole other set as an encore or something, had planned on it. !!!! Now, I was not there, I am hearing this through a friend who was, so take it for what it's worth. Evidently, there is some kind of green room, still there, where all the artists sign their names on the walls ... Somewhere in there, Joni signed whatever it was she said on stage, like "Wake up Chicago," joni. Would you be so mortified if it was you who had yawned ? ! ? Incredible that she is still that sensitive after all these years, after all her incredible success. Whoa. She's intense. Love her.. : ) bestkaren On 2/8/06 6:41 PM, "Deb Messling" wrote: > Tell us about the Chicago benefit, please. I do recall hearing about it > but don't remember much. I vaguely remember some snippy press coverage > about the fact that Joni wasn't folky enough for the Olde Towne Folk School. > > > > At 07:43 AM 2/8/2006, you wrote: >> And ... Do you all know the story about when Joni performed in Chicago for a >> benefit for the re-opening of the Olde Towne Folk School? Five or six years >> ago, I think? Good story, I'll tell you if you don't know it, but you >> probably already do. >> > > ---------------------------------------------------------------------- > Deb Messling -^..^- > dlmessling@rcn.com > ---------------------------------------------------------------------- ------------------------------ Date: Wed, 8 Feb 2006 19:13:59 -0500 From: "JR" Subject: Re: JMDL Digest V2006 #48 - ----- Original Message ----- From: "karen" To: "Deb Messling" Cc: Sent: Wednesday, February 08, 2006 6:52 PM Subject: Re: JMDL Digest V2006 #48 > Towards the end of what was, I gather, a short-ish set, Joni noticed that a > man in the front row yawned. (!!!) She got up, put down her guitar or > whatever it was she was playing, and said "Get some sleep, Chicago," and > walked off stage, (or maybe it was "Wake Up, Chicago,"), not sure, and she > did NOT come back out. Sounds like we got off lucky on Boston Common in the summer of '83. With people still "milling around" as she put it, six or seven songs into the show, she just couldn't get into it, and stopped Song for Sharon right in the middle of the song and after a short explanation, went backstage for about 20 minutes "to compose myself". It seemed like the rest of the show went pretty quickly, which, I'm sure those who were there or have the recording will attest. At least she came back out! Jonathan ------------------------------ Date: Wed, 8 Feb 2006 19:22:06 EST From: JRMCo1@aol.com Subject: Re: JMDL Digest V2006 #48 I remember Chicago, but was it a benefit? That I don't recall. I do remember hearing tell that the Chicago venue dressing room has a wall that performers customarily signed after gigging. The story goes that our Joan was miffed that some guy in the front row had the nerve to up and *yawn* during her performance. So, on the wall, Joni Mitchell signs, roughly: "Get some sleep, Chicago! See you next time, maybe... Joni Mitchell." Mwah! - -Julius In a message dated 2/8/06 3:50:27 PM, dlmessling@rcn.com writes: > Tell us about the Chicago benefit, please. I do recall hearing about it > but don't remember much. I vaguely remember some snippy press coverage > about the fact that Joni wasn't folky enough for the Olde Towne Folk School. > > > > At 07:43 AM 2/8/2006, you wrote: > >And ... Do you all know the story about when Joni performed in Chicago for > a > >benefit for the re-opening of the Olde Towne Folk School? Five or six > years > >ago, I think? Good story, I'll tell you if you don't know it, but you > >probably already do. ------------------------------ Date: Wed, 08 Feb 2006 19:29:24 -0500 From: karen Subject: Re: JMDL Digest V2006 #48 I heard it was a benefit for the Olde Towne Folk School, which had just undergone a significant renovation or rebirth or new building or something, at that time. best,karen On 2/8/06 7:22 PM, "JRMCo1@aol.com" wrote: > I remember Chicago, but was it a benefit? That I don't recall. > > I do remember hearing tell that the Chicago venue dressing room has a wall > that performers customarily signed after gigging. The story goes that our > Joan was miffed that some guy in the front row had the nerve to up and *yawn* > during her performance. So, on the wall, Joni Mitchell signs, roughly: > > "Get some sleep, Chicago! See you next time, maybe... Joni Mitchell." > > Mwah! > > -Julius > > In a message dated 2/8/06 3:50:27 PM, dlmessling@rcn.com writes: > > Tell us about the Chicago benefit, please. I do recall hearing about it > but don't remember much. I vaguely remember some snippy press coverage > about the fact that Joni wasn't folky enough for the Olde Towne Folk School. > > > > At 07:43 AM 2/8/2006, you wrote: >> >And ... Do you all know the story about when Joni performed in Chicago for a >> >benefit for the re-opening of the Olde Towne Folk School? Five or six years >> >ago, I think? Good story, I'll tell you if you don't know it, but you >> >probably already do. ------------------------------ Date: Wed, 8 Feb 2006 18:31:03 -0600 From: "Snatch N. Grabster" Subject: '68 Live Recording Check out torrent #81806 at www.dimeadozen.org, it's said to be a fantastic soundboard of Joni circa 1968 (unknown venue). PS- Does anyone know if Joni's performance at the opening of the new Old Town School branch was taped? ------------------------------ Date: Wed, 08 Feb 2006 15:48:53 -0800 From: Randy Remote Subject: Re: JMDL Digest V2006 #48 > Yes Elliot Roberts (nee Rabinowitz) did manage Joni during the 60's > and 70's but once she migrated to Geffen (or something) she was > managed by Peter Asher of Asher Krost Management. Peter is Jane > Asher's brother, who used to date Paul Macartney who used to be in an > English band... He was also Peter of Peter & Gordon fame, who had a hit with the Lennon/McCartney penned "World Without Love", as well as producer of Linda Ronstadt's big hit albums. > > And Joel is ofter quoted by Joni as her 'annex memory' as not only > does he take photographs of that crowd but also he knows her guitar > songs inside out, every tuning, every voicing, so anytime she wants to > play a song for a tour, I guess she calls him up. Apparently he is > also working on a Joni Archive but really, I don't see a better one > than jonimitchell.com ;-) Supposedly, when he finishes compiling the mammoth Neil Young unreleased series project, he is going to work on a Joni boxset; may we (and he) live that long. RR ------------------------------ Date: Wed, 8 Feb 2006 18:50:41 -0600 From: "Snatch N. Grabster" Subject: Old Town School This was the inaugural concert at a new branch of the Old Town School of Folk Music in Chicago. The original branch on Armitage is still there. The second branch is several miles further north in the Lincoln Square neighborhood. The building had been the Hild branch of the Chicago Public Library. When the library was moved to a larger building, the old building was renovated, and turned into a performance space with classrooms, a guitar store, practice rooms, etc. etc., it's really quite nice. ------------------------------ Date: Wed, 08 Feb 2006 19:55:49 -0500 From: vince Subject: Re: JMDL Digest V2006 #48 karen wrote: >I heard it was a benefit for the Olde Towne Folk School, which had just >undergone a significant renovation or rebirth or new building or something, >at that time. > As the young people say: word. Vince ------------------------------ Date: Wed, 08 Feb 2006 19:58:09 -0500 From: vince Subject: Re: JMDL Digest V2006 #48 karen wrote: >I heard it was a benefit for the Olde Towne Folk School, which had just >undergone a significant renovation or rebirth or new building or something, >at that time. > >best,karen > > > >In the Beginning > > The >Old Town School of Folk Music opened in December of 1957 with its first >home at 333 North Avenue. The first five years of the School's history >mirrored the boom in folk music at that time. Enrollment grew and >programs expanded. Over 150 students attended guitar and banjo classes >on a weekly basis. Folk dancing, and family sing-alongs rounded out the >programming. The School also offered concerts by nationally renowned >artists. Pete Seeger, Mahalia Jackson, Jimmy Driftwood, Big Bill >Broonzy, and Josh White were just some of the many folk music artists >who performed at the Old Town School in its early years. > > > > 1960s > > The >School continued to grow, contributing to and benefiting from the folk >revival movement of the 1960s. The School developed a special >atmosphere of community and camaraderie, and helped to launch some of >the brightest artists on the folk music scene: Roger McGuinn of the >Byrds, Bob Gibson, John Prine, Bonnie Koloc, and the late Steve Goodman >all studied at the Old Town School. In 1968, the School purchased and >moved into a 13,000 square foot building at 909 West Armitage Avenue. > > > > 1970s > > In >the early 1970s the School introduced private instruction in a variety >of instruments, a more high-profile concert schedule, and the opening >of satellite locations. Enrollment peaked in 1975 with over 650 >students attending classes each week. > > > > 1980s > > The >late 70s marked a decline in enrollment, concert attendance, and the >beginning of a severe financial crisis that left the School on the >brink of bankruptcy. In 1982, the School's staff and Board began a >broad series of institutional changes that increased management >effectiveness, placed a higher emphasis on fundraising, and expanded >the scope of programming to include ethnic and traditional music from >around the world. Solvent, the School rebounded. By 1987 the School was >able to renovate the Armitage Avenue facility, a renovation that >contributed to a surge in the School's popularity. That same year the >School won the prestigious Beatrice Foundation Award for Excellence. > > > > > > 1990s and beyond > > In >the early 1990s, the School recognized the need for additional space >and began to explore options. Coincidentally, at about the same time >the City of Chicago approached the Old Town School and other cultural >institutions about the former Hild Library, an art deco builiding that >had stood vacant for twelve years. The 43,000 square foot building was >situated on North Lincoln Avenue in Lincoln Square, one of Chicago's >most culturally diverse neighborhoods. Chosen by the city as the >preferred recipient, the School began planning and soliciting support >to expand operations to the new facility in late 1994. > > > >With funds raised from a $10 million capital campaign, the School >expanded its programs to the much larger Lincoln Avenue facility, and >maintained its music education programs at the Armitage building in >Lincoln Park. The new Old Town School building was dedicated on >September 18, 1998, with a concert by Joni Mitchell and Peter Yarrow. >The new facility, the finest in North America for the study and >presentation of folk and traditional music forms, dramatically raised >the School's profile and garnered national praise and recognition. ------------------------------ Date: Wed, 8 Feb 2006 16:57:10 -0800 (PST) From: Brian Gross Subject: Re: JMDL Digest V2006 #48 - --- karen wrote: > I heard it was a benefit for the Olde Towne Folk School, which had just > undergone a significant renovation or rebirth or new building or something, > at that time. http://jonimitchell.com/chronology/details.cfm?id=1706 Doug Stapleton reported on the event for JM.com: Review by Doug Stapleton Your adventurous reporter here- bringing you the latest on all things JONI. I went with no expectations. My hope was to hang around back behind the theater for some sound seepage through the windows. When I arrived, there were already 6-7 "fans" waiting on the sidewalk by the gates to the back entrance/courtyard of the Old Town School of Folk Music (OTSFM). The gates were open, and many of the attendees were milling about smoking and talking to us on the other side of the fence. All was congenial. First I ask if any of the sidewalk crew might be from the discussion list, to which I got "the what?" A man and a woman convinced one of the ticketholders to take an album cover and a guitar in for Joan to sign. Off this poor woman went, shlepping these goods into the concert hall. Not two minutes later she returned, quite apologetic, saying that she was told that Joni would not be signing anything and to please return the items to their owners. The sidewalk crew mumbled and moaned their discontent- the "who-does-she-think-she-is-too-good-to-sign-for-fans-now" kind of whine. I moved up the courtyard to the back entrance, lit a cigarette. I could hear muffled voices and applause from the adjacent theater. No free concert for me- the building is virtually soundproof when they want it to be. A man came out from the theater and lit a cigarette. "Speeches" he said. We talked. Later, during Peter Yarrow's set, more attendees and some of the OTSFM people joined us for fresh air and cigarettes. Introductions followed. I said that I was an unofficial reporter for JoniMitchell.com and several people asked me if I was Wally Breese!!!! (Wally, your name travels fast and far, my man!) By that point, the ranks of OTSFM had swelled to eight, which meant something was about to happen. And yes it did- a slick white stretch limo pulled up- the sidewalk crew rushed the car- the OTSFM staff fended them off and escorted Joan, all introductions and pleasantries, into the building, right past us- all earnest radiance! Intermission- Peter Yarrow exits the stage and more attendees flow out into the courtyard. More cigarettes, more plugs for the Website. I talked to two very drunk electrical contractors, they did most of the work on the new building, and they encouraged me to sneak in, and told me the best way to do it. We talked more, the gates were closed to the sidewalk; I was partially in. I took a deep breath and walked through the doors towards the lobby. Not two feet ahead of me was a friend of mine. Boy, was he surprised to see me. I told him my plot and he said- "I've got an extra ticket, sit with me." He was a campaign manager for a local politician who had been instrumental in pulling the strings for this new building. The politician was sick and couldn't make it. The ticket was mine- too easy!!! Sitting in the balcony of Old Town School- upper left, second row- looking down on the stage not 35 feet away. The theater is very intimate. There's a gorgeous worn Sarouk rug on the floor of the stage, 3 amps, 1 microphone, a VG-8 guitar and box thing and a stool with water. Terri Hemmert from WXRT-FM does the introductions. The Techies fiddle with the equipment and then- Joni. What was Joni wearing? Elegant simplicity. A slate green-gray tunic top, sleeves pushed up to the elbows, with matching skirt. The lines are clean with most of the emphasis placed on the soft hanging folds along the hem of the tunic and skirt. The tunic top was hip length and the skirt down to mid calf. Simple gold earrings, a beaded necklace, brown platform sandals with matching toenail polish. Hair straight, parted in the middle, behind the ears, shoulder length. What more can I say?- gorgeous. What did she play? Set List: Slouching Towards Bethlehem, Sex Kills, Turbulent Indigo, Harry's House, Sunny Sunday, Hejira, Love Puts on a New Face, Crazy Cries of Love, Happiness is the Best Facelift, Big Yellow Taxi, Just Like This Train, Black Crow. How did she sound/What did she say? I had overheard that she was having some problems with her voice- something to do with allergies or a bug of some sort. I think it might be true- her voice was a bit hoarse and raspier than usual. She didn't say much throughout her set- but when she did- it was great. Here's my reconstructed song by song report... She came out, put on her guitar, looked up and shielded her eyes from the lights and scanned the crowd for quite awhile. Then she looked down at her set list and said- "This is an odd set" and laughed to herself. "I hope you like it. It's my reaction to the MTV music awards which I watched the other night." Slouching Towards Bethlehem: This song captures so much of it's power from the moody dark undercurrent of sound that builds and swells on the Night Ride Home album. It's one of her truly eerie songs. Tonight it was a sung poem- the beauty of the words are given precedent by the very sparse guitar arrangement. Good start. Sex Kills: She punched this one out with great finesse. No big drama- just a hint of a studied weariness mixed with anger during the part "and the gas leaks, and the oil spills. and sex sells everything. sex kills." Joni growled this one out! No Apologies: She was struggling a bit with this one. Maybe it's still too new to her repertoire. It's the first time that I've heard this song and it's a lovely number- the logical successor to "Sex Kills." By this point she hadn't said anything between songs. What I found interesting is her choice of opening songs- the first apocryphal, the second two hyper-critical social & political commentary. "Lawyers & loan sharks are laying America to waste" (from "No Apologies") The audience that night was primarily BIG business execs, lawyers and politicians. I think it might be our Joan's way of saying- okay, people- this is where I stand now! Turbulent Indigo: She started, stopped and said "Wait, I need to start over", paused and told the story of the song. The gist was about being invited to speak at a conference on arts and education in Canada. She hadn't prepared at all, crazy from trying to quit smoking and unable to focus, and just a bit cranky. When she arrived at the conference, she saw the program listing all the presentations throughout the four days and was greatly offended by two of them. One- something like "We can make Van Goghs"- which was about this arts program targeting immigrants, Eskimos and women, teaching them to make "art" or, as Joni said, "wheat dolls and ornaments." The second session in question was a discussion about whether one needs to be an artist in order to teach art in schools. She said she'd received a lot of criticism for her comments- "we don't need any expatriate rock star telling us what art is!." Turbulent Indigo: This is a difficult song to sing- try it sometimes. It plays with and against the rhythm at the same time. Tonight- the melody had it's own shifting rhythm pattern. Her singing, tiptoes across rocks in a rushing stream, oddly syncopated and balanced jumps from note to note- "oh what do you know about living in turbulent indigo?" were expertly poised against the bright and jumpy guitar work. Harry's House: The song is great, but doesn't move me as a piece for voice and guitar alone. Harry's House to me is a bit of theater, which breathes to life through the excellent production of Hissing- the mantric litany of daily toils and distractions that numb and placate the character's sorrow. "Centerpiece" is the flood gates of memory cracking, the illusion and longing of the past coming through and falling apart. I wish Joni would include it in her live versions. I think it would take it from a good story song to one with more psychological punch. After Harry's, she looked down at her set list, laughed and shook her head, saying something about the disaster theme running through her set. Then she said, "Meanwhile, he's on the road, and she's going crazy..." Sunny Sunday: Joan was having some trouble with staying on key and with her chords. It showed on her face and the song lost some steam. She pulled it back together with "the dogs bark as the gun hits the floor"- each note a tiny burst and push upwards to the wistful "the streetlights still burning, she always misses," and onward through the sad resignation at the end of the song. "Sunny Sunday" is one of the most concise character studies ever written! Hejira: HEAVEN. At the end of the song, Joni gave a yawn and said- "Beethoven had a movement for the sleeping husbands too." Maybe she's getting tired of singing that song, or maybe she thought it put the suits in the front row asleep, but I have to disagree with her sleepy movement comment. "Hejira" could be discussed for hours! I think it's one of the most poignant and relevant pieces about the position of the soul in the web of existence, and one of the most hypnotically beautiful pieces of music. Tonight, Joni punched the rhythm of the song through with an urgency that I've never heard in it before- yet still the vocal hung, crystalline and delicate, in the air, it's own plaint plea for hope and hopelessness. Oh, by the way, for those keeping track, it was "Miles Davis blowing through the snow and the pinewood trees." She fiddled with the dials on the VG-8 and said "I have families of tunings and this one is in the dreaded 7A (sorry- not sure if that's really want she said) family. If this tuning were a typewriter, the "A" key would be on the return bar." Then she said "After all this gripeing, I get sucked back into love- and the poor guy's now got this problem.." Love Puts on a New Face: A lovely song- but like "No Apologies" not quite as confident live. But Joni does put the right emotion into the song- that melancholic matter of fact delivery. "Why can't you be happy, You make me feel helpless when you get this way" or "I wish you were with me here. The leaves are electric. They burn on the river bank. Countless heatless flames" and "I miss your touch and your lips so much, I long for our next embrace." Clean prose, spoke/whispered/sung with tempered emotion that made me feel like a trusted confidante, or like one of those angels in Wender's "Wings of Desire," who hear the innermost whispered thoughts and dreams of humans. Now Joni started talking more and getting a bit more relaxed. She said, "When I turned 50, I fell in love with a homeboy," and then told the story of meeting Donald Freed. This is when I wish I had a tape recorder! Here's what I can reconstruct from my hasty notes and memory- She said that her mother was bugging her to meet this guy, until finally Joan said "What's so great about him?" Her mom's reply, in that funny old-lady voice that Joni does, "Well, he's kind of sexy." Joni said "Sexy" was never a word her mother used in a positive sense, and she would pay money to see what her mother considered sexy. They met, Joni and her Mom sitting together and Donald on the other side of the room. Joni said, "Mom, he's staring at me." To which Donald replied something about it was like meeting a cartoon character, to which Joni replied, in her best Bugs Bunny, "Ah, what's up doc?" They all laughed, including her Mom. Joni said that was great, because the only way to get her Mom on her side was to make her laugh- something about her being a Gemini. Anyway- Joni wrapped up the story by saying that she and Donald fell in love, much to her Mother's great displeasure, and how she and her Mother have fought over this, sending Joni into one of her "famous depressions" and nearly tearing their family apart. It was a pretty intense story- mixed with jokes and lots of poignant stuff. Then she sang- "Happiness is the Best Facelift!" I think this is my favorite song on the new album, and certainly one of the most personal songs she's written in years. But again- it's the precision of the language and images, that measured quality of emotion that allows such easy entry into the song. From the soft whisper of "I went so numb on Christmas day, I couldn't feel my hands or feet," to the sarcastic "Same old sacred cow" to the exasperated "Why is this joy not allowed" to the frustrated "Snap out of it" to the tenderness and promise of the refrain "you know, happiness is the best facelift"- this song soared tonight! The crowd loved it too- great response! Big Yellow Taxi: A breezy rocking number, and the Dylan verse, well, close your eyes and think of Bob... Just like this Train: A big hoop and holler from the crowd for this one. Joni was delightful and ironic during this song, but the best part- ooooohhhh- "thinking of the pleasure I'm going to have (sung with such anticipation followed by a long pause and then the attack) watching your hairline recede, my vain darling!" Black Crow: I've not heard this song played like this before. Explosive and driving! From the first note, "There's a black crow..." to the end, she soared, playing with dissonance and balance in her voice and with the guitar. Then she left the stage just as quickly as she'd come on! So, over all, what impressed me about how she handled many of the songs was that the singing dictated the rhythm and pacing, especially in "Black Crow," "Just Like This Train," "Turbulent Indigo" and "Sex Kills." Also, I'm not convinced that the VG-8 is the best instrument. I know it's handy because it holds all the tunings, but I wanted to hear some different voicings in the instrumentation. I think that the VG-8 can get monotonous and I miss the acoustic boings and rings and slaps of her earlier playing. So I thought about the sound, and what quality it has that would draw her to it, and I thought of the bass. That guitar is a lead guitar and bass all in one- especially on "Hejira," "Black Crow" and "Big Yellow Taxi"- where she really established a bass-like rhythm throughout the song. I filed out with my friend, said goodbye and then went around back to get my bike. The sidewalk crew had tripled, waiting for Joni to be wisked away in the stretch limo. I spotted the other two guys who'd snuck in for the show and we talked awhile, gloating I'm afraid, to the fans outside. But I was tired and I wanted to get home and be with my thoughts. I couldn't sleep well- drifting back into my memories of the evening, replaying the songs in my head- trying to freeze her image & conjure it up again. I've looked at love from both sides now From give and take, and still somehow It's love's illusions I recall I really don't know love at all --Joan, with the wisdom of the ages Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ End of JMDL Digest V2006 #49 **************************** ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------