From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2007 #346 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, September 5 2007 Volume 2007 : Number 346 ========== TOPICS and authors in this Digest: -------- Re:, Across the Universe [Mark-Leon Thorne ] Re: SV: CSNY&J - Wolfgang's Vault this week... ["P. Henry" ] UK shine purchasers ["Paul Headon" ] Re: njc- off-the-cuff music [Victor Johnson ] South Florida Folk Festival [OzWoman321@aol.com] Neil Young film tonight and perfect pitch njc ["Randy Remote" ] ---------------------------------------------------------------------- Date: Tue, 4 Sep 2007 17:28:28 +1000 From: Mark-Leon Thorne Subject: Re:, Across the Universe Hey Mark. Hello to Travis too. I certainly remember you. I didn't realise you dropped of in fact. I thought you'd just gone quiet for a while. Welcome back anyhow from Mark in Sydney (just a little further west than WA) ------------------------------ Date: Tue, 4 Sep 2007 18:34:55 +1000 (ChST) From: "P. Henry" Subject: Re: SV: CSNY&J - Wolfgang's Vault this week... No doubt about it, Michael. You nailed it and they totally missed it. It's perfectly obvious. Good call my friend. It was a pretty nice concert overall. BTW, the liner notes have a few points of interest regarding that particular moment in history: "Concert Summary David Crosby - vocals, guitars Graham Nash - vocals, guitars, keyboards Stephen Stills - vocals, guitars, keyboards Neil Young - vocals, guitars, keyboards Tim Drummond - vocals, bass Russ Kunkel - drums Joe Lala - percussion, congas Joni Mitchell - backing vocals on "Another Sleep Song" and "Our House" When Crosby, Stills, Nash & Young abruptly split apart at the end of 1970, it seemed as though the worlds first supergroup would become yet another casualty of drugs, alcohol, egotism, greed, and political infighting that had become so familiar in the world of rock stars. By the end of their initial run (1968 through 1970), CSNY was known as much for their backstage fistfights and legendary episodes of drug abuse, as they were for two brilliant studio albums (Crosby, Stills & Nash and Dij` Vu), and the multi-platinum double live LP, 4 Way Street. The group, which often sang about love and peace, had gotten to the point where they couldnt even travel together on tour. Thats why, when the much ballyhooed 1974 Reunion Tour was announced, music industry insiders doubted the group could stay together long enough to even finish it. But David Crosby, Stephen Stills, Graham Nash and Neil Young proved everyone wrong. Not only did they complete the tour, they did it without a single major fight or argument. And though it would be 14 more years before all four members toured together again, they managed to play 36 stadium-sized shows to over one and a half million enthusiastic fans. There had been a slew of solo albums in the period between 4 Way Street and this tour, and the group used their individual solo hits to supplement the already large CSNY repertoire. Opening with a lively version of "Love The One You're With," (a 1970 solo hit for Stills), and offering up group arrangements of "Immigration Man" (a hit from the first Crosby/Nash duo LP); "Military Madness" (from Nashs first solo album); "Johnny's Garden" (from Stills II); "Only Love Can Break Your Heart" (from the classic Young LP, After The Gold Rush), and "Lee Shore" (from David Crosbys If I Could Only Remember My Name LP). Although more than half of the show was not included in this recording, and there are certainly a great number of mistakes heard here (despite a solid month of rehearsals prior to the tour, the groups vocals are often flat, due probably to problems with the monitor system used for stadium sound systems), this recording is historic nonetheless. Since no official group live album was ever released from this tour, this remains one of the few professional recordings of the bands 74 trek. Although show stoppers like "Pre Road Downs," "Dij` Vu," and "Long Time Gone," were left off the Biscuit show there is still plenty of CSNY classics included, among them "Wooden Ships," "Helpless," "Almost Cut My Hair," "Teach Your Children" and "Our House" (with backup vocals from Joni Mitchell, who shared this bill with CSN&Y and others). This recording ends with Neil Youngs "Hawaiian Sunrise," which is anti-climatic after the aforementioned hits had been played. But all in all, it is a testament of how four incredibly talented solo artists could figure out how to make it all work as a band." All The Best, Pat "The last time I saw Joni was Detroit in '68..." http://www.angelfire.com/pq2/phenryboland/ - --------------------------------------------- > Hi Pat- > > Is that Joni on Only Love Can Break Your Heart? I listened to that > whole show I can swear it sounds like her on background vox even tho > it does not list her in the credits. > > Best > > Paz > Michael Paz > michael@thepazgroup.com > > Tour Manager > Preservation Hall Jazz Band > http://www.preservationhall.com ------------------------------ Date: Tue, 04 Sep 2007 08:48:03 -0500 From: Kate Johnson Subject: njc- Millions to be spent in bid to understand what happens when people make off-the-cuff music together Since a lot of you are musicians, I thought you might find this of interest: University research project in a jam Millions to be spent in bid to understand what happens when people make off-the-cuff music together ELIZABETH CHURCH September 3, 2007 Musicians from Mali, Mexico, Canada and the United States will meet for the first time later this week on a stage in Guelph, Ont., to make music together. Their improvisational performance, part of an annual jazz festival in the city northwest of Toronto, is also the jumping-off point for a multimillion-dollar research project that seeks to understand what happens when an ad hoc group of people make off-the-cuff music together. The goal: to replicate that experience in other areas as diverse as architecture and medical research. "When it works, it is quite wondrous," says Ajay Heble, the University of Guelph English professor leading the project. He is also the artistic director of the jazz festival. "Improvisation can be a model for new ways of understanding," said Prof. Heble, a musician himself. "A group of people who may have never met, who know very little about one another - may not even speak the same language - can create inspired music. What makes it work and what does this tell us? These are the kinds of questions we are asking." The $4-million project, to be announced tomorrow, will span seven years and bring together 33 researchers in a variety of fields plus 12 community groups. Participants come from Canada, the United States, England and Australia. The bulk of the funding is provided by the federal government, with a $2.5-million grant from the Social Sciences and Humanities Research Council of Canada. (The seven-year grant is the largest awarded by the federal agency and is given to between two and four major projects each year.) The University of Guelph, McGill University, the University of British Columbia and the University of Montreal are also providing funding, as are several private foundations and partners. In a society where increasingly diverse groups must work together, the researchers believe musical improvisation could provide models for co-operation and a tool to help build confidence and trust. "It seems more and more, improvisation is the way the planet works and we should be studying it quite closely," said New York musician and scholar, George Lewis, another partner in the project and the director of the Center for Jazz Studies at Columbia University. "The purpose is to find out how human beings tick and to develop new knowledge from music which we can generalize to many different areas." The project will generate books and conferences as well as several outreach programs that will be used as case studies. A Vancouver group will bring an improvisational artist to work with a choir in the city's troubled Lower Eastside. Another project involving the Montreal-based Canadian Centre for Architecture will examine how improvisation can play a role in the creation of public spaces. A project exploring the therapeutic possibilities of improvisation is also being discussed. Eric Lewis, a McGill University philosophy professor and another member of the research team, will look at improvisation and its implications for intellectual property law - a hot issue with the rising use of sampling in music. That topic also will be the focus of one of four policy papers. The researchers, he said, are making an effort to make their work relevant and involve groups outside the academic community. Such outreach also has become a key goal of SSHRC as it works to demonstrate the relevance of social science and humanities research to the general public. The researchers themselves plan to put their theories to the test. A group of them - some accomplished musicians, some less so - will take the stage later this week for an improvisational performance with the playful title Not Just Talking Heads. Prof. Lewis of McGill, a trumpet player, says every meeting of the research group has included a jam session and he thinks that experience has changed the way he relates to his fellow partners in the project. And he believes the experience is quite different from the one he would have had playing from a score where decisions had been made by the composer. "I think our success in pulling off the project in no small part will be due to the fact that we improvise together," he said. " I know I learn things about fellow improvisers as people when I improvise with them that have very serious and positive ramifications in my ability to work with them," he said. "I felt like I trusted them more. I felt much more at ease with them and I think that has improved my working relationship with them and, I say this quite honestly, it surprised me." Perhaps, he suggested, the project might even produce new models for sharing research based on the experience of musical improvisation. - -- http://xoetc.antville.org Who Does She Think She Is? ------------------------------ Date: Tue, 4 Sep 2007 13:21:37 -0400 (EDT) From: Mags Subject: welcome back mark NJC hey sweetie, yes indeed you are remembered. i'm glad to see you back in the fold. i keep fading in and out of joni land too, depending on what's going on. so nice to see your name in lights, again. i love your writing, and i know that the new list members are in for a treat. hope you and travis are well. love love always, mags (with a new email addy) xo - --------------------------------- All new Yahoo! Mail - - --------------------------------- Get a sneak peak at messages with a handy reading pane. ------------------------------ Date: Wed, 5 Sep 2007 00:17:45 +0100 From: "Paul Headon" Subject: UK shine purchasers Hi all. I have discovered a site that will sell a pre-ordered copy of Shine for 6.99 GBP including postage. http://www.bangcd.com/productDetail.aspx?prod_id=3042¤cy=GBP&source=Cia oUK I am not an employee of the company . It just strikes me as a very very low price :-). Enjoy. Best wishes, Paul Headon. (From Wales) ------------------------------ Date: Tue, 4 Sep 2007 20:22:10 -0400 From: Victor Johnson Subject: Re: njc- off-the-cuff music I just returned last night from the annual gathering I go to over Labor Day, some 700 people, camping in the woods and playing music. Much of what goes on is making off-the-cuff music. I particularly enjoyed a jam Saturday night...it must have been a couple of hours before dawn...I had been playing for awhile with two incredible mandolin players, and had just started playing Peaceful Easy Feeling, when another mando playing friend showed up and what transpired was this incredible 3 part harmony. From there we went into Helpless Hoping, Seven Bridges Road, Ripple, Brokedown Palace...just hauntingly beautiful. And Sunday night, with many of the same people, I started Sugar Mountain, playing it really slow, not speeding up at all, just dragging it, fighting the urge to pick up the pace, and after the last verse..about leaving home, started playing faster, staying on the d minor, g major riff and then suddenly had the notion to switch to d major and go into I Know You Rider, which is about someone who is going away, and the two songs fit together so well...it was incredibly poignant, and the mandolins were just tearing it up. There was also really good music on the electric stage, particularly, this band called Kelly and the Cowboys, I think from somewhere in the South...if you had heard them, you would have thought Patsy Cline was there herself. She had the most amazing voice...I especially enjoyed hearing them do I Fall to Pieces. Even when you're not right in front of the stage, the music carries through the woods...I had actually been taking a nap in the late afternoon and woke up to hearing her voice which was just so heavenly. Now its back to school and homework and practicing, etc... though it was definitely an experience not to be missed and I am still filled with inspiration, wonder, and awe. Victor ------------------------------ Date: Tue, 4 Sep 2007 20:55:37 EDT From: OzWoman321@aol.com Subject: South Florida Folk Festival Hello, All - Apologies for the crosspost - hope to see you many of you here in January! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From Bob Singer, director of the South Florida Folk Festival: We WILL have a festival this January; it WILL be on Martin Luther King Day weekend; it WILL be at Markham Park (post Hurricane Wilma, Easterlin has a few kinks with FEMA trailers still there and a shortage of personnel). We have a management team put together (which is very similar to the 2005 team) and are enthusiastic about our 2008 festival! Remember the deadline for the Singer/Songwriter contest is September 15, 2007; the deadline for the performer application is October 1, 2007. If you haven't applied already, please do so now (details at www.southfloridafolkfest.com). Susan www.labyrinthcafe.com "Well, something's lost but something's gained in living every day..." ~ Joni Mitchell "I am older now, I know the rise and gradual fall of a daily victory..." ~ Dar Williams ************************************** Get a sneak peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour ------------------------------ Date: Tue, 4 Sep 2007 12:19:35 -0700 From: "Randy Remote" Subject: Neil Young film tonight and perfect pitch njc The Jonathan Demme film "Neil Young: Heart of Gold" will premiere on Showtime tonight at 8PM EST. Concert film with material from Prarie Wind and an=20 appearance by Emmylou Harris..this is the first time=20 it's played on cable to my knowledge. Other times (EST): Showtime Sep 19 9:05 AM=20 Showtime Too (whatever that is!) Tomorrow 10:15 PM=20 Monday 1:45 PM Sep 15 8:30 AM Welcome back Mark in Seattle! Saw this article about perfect pitch: CHICAGO - Musicians and singers work for years to develop their sense of pitch, but few can name a musical note without a reference tone. U.S. researchers on Monday said one gene may be the key to that coveted ability. Only 1 in 10,000 people have perfect or absolute pitch, the uncanny ability to name the note of just about any sound without the help of a reference tone. "One guy said, 'I can name the pitch of anything -- even farts,'" said Dr. Jane Gitschier of the University of California, San Francisco, whose study appears in the journal Proceedings of the National Academy of Sciences. She and colleagues analyzed the results of a three-year, Web-based survey and musical test that required participants to identify notes without the help of a reference tone. More than 2,200 people completed the 20-minute test. "We noticed that pitch-naming ability was roughly an all-or-nothing phenomenon," she said. That lead researchers to conclude that one gene, or perhaps a few, may be behind this talent. Dr. Gitschier said those with perfect pitch were able to correctly identify both piano tones and pure computer-generated tones that were devoid of the distinctive sounds of any musical instrument. She said people with perfect pitch were able to pick out the pure tones with ease. And they also tended to have had early musical training -- before the age of 7. "We think it probably takes the two things," she said. They also found that perfect pitch tends to deteriorate with age. "As people get older, their perception goes sharp. If a note C is played, and they're 15, they will say it's a C. But if they're 50, they might say it's a C sharp." "This can be very disconcerting for them," Dr. Gitschier said. The most commonly misidentified note, based on the study, is a G sharp. That may be because G sharp is overshadowed by A, its neighbour on the scale, they said. A is often used by orchestras in the West as a tuning reference. Dr. Gitschier said she and her colleagues were focusing on identifying the gene responsible for perfect pitch, which will involve gene mapping. Then they will try to figure out what is different in people with absolute pitch. "We'll have to play it by ear, so to speak," she said. RR ps 4 million bucks to study jamming? Find me that grant writer! [demime 0.97c-p1 removed an attachment of type image/gif which had a name of spacer.gif] ------------------------------ Date: Tue, 4 Sep 2007 22:57:12 EDT From: Motitan@aol.com Subject: Blue On Blue So I was watching some DVD's of mine, including some Joni and ended up wondering about Joni's early songs. I was watching a very early performance of a song called "Blue On Blue" or she also said she called it, "Song to a Daydreamer." My question is, has Joni ever said anything about these early songs of hers? Did she ever perform this song (or other early ones you may find) anytime again a few years later or did she just drop them when she got new songs she obviously must have liked more? The song, "Blue On Blue" is beautiful although I will say it does sound very much of its time. Blue on blue Sky's in your eyes Steer you away like I wasn't here Where do you go when you fantasize That you wish I'd disappear Leave you to dreaming and leave you alone Lost in a world that's all your own Can I come, too Blue on blue Dreams like you are making now Are very hard to share All I ask is one small favor Dream a dream and wish me there Gold on gold, sun in your hair Spinning the rainbow, weaving the wind Bluing the dye for the midnight air Counting the gold at the rainbows end Rapier princess whispers your name Out of the time before I came I'll never know Gold on gold Dreams like you are making now Are very hard to share All I ask is one small favor Dream a dream and wish me there - -Monika ************************************** Get a sneak peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour ------------------------------ Date: Tue, 4 Sep 2007 15:48:37 -0700 From: "Lindsay Moon" Subject: This Flight cover Secondly, check out this Delta Blues-ish take on This Flight Tonight...it > ain't Joni, and it ain't Nazareth. I think it's pretty killer. Maybe > it derivates too much from the original for Randy's tastes: > > http://www.youtube.com/watch?v=UTAtaNKFOVY > > Bob Bob, I'm a little behind on my digests, but did take a look at this. A wonderful cover! He really made it his own. I think Joni would have a big standing ovation for him. Lindsay ------------------------------ End of JMDL Digest V2007 #346 ***************************** ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------