From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2007 #407 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 Monday, October 8 2007 Volume 2007 : Number 407 ========== TOPICS and authors in this Digest: -------- Re: Shine [Bob Muller ] Dutch video review of Shine [Bob Muller ] SV: SV: Too many people/too little land ["Marion Leffler" ] Re: Annie Lennox njc ["Mark Scott" ] 2007's Big Yellow Taxi [jeannie ] Shine impressions [Michael ] Shine on Ela Gandhi [Patti Parlette ] BYT 2007 : the price to visit the tree museum [rian afriadi ] Re: BYT 2007 : the price to visit the tree museum ["Jerry Notaro" ] Dianne Reeves NJC [Joseph Palis ] RE: 2007's Big Yellow Taxi [jeannie ] Re: Dianne Reeves NJC [jeannie ] ---------------------------------------------------------------------- Date: Sun, 7 Oct 2007 05:58:26 -0700 (PDT) From: Bob Muller Subject: Re: Shine Hi Dan, welcome back, and thanks for your Shiny thoughts. Keep them coming. Bob NP: Ingrid Michaelson - --------------------------------- Yahoo! oneSearch: Finally, mobile search that gives answers, not web links. ------------------------------ Date: Sun, 7 Oct 2007 07:35:50 -0700 (PDT) From: Bob Muller Subject: Dutch video review of Shine Here's a short video review from my favorite country: http://www.vk.tv/video/14090/na-vijf-jaar-nieuwe-cd-joni-mitchell.html Here's a translation of what Dutch journalist Gijsbert Kamer is saying. "After Paul McCartney, Joni Mitchell has also decided to let Starbucks release her new CD's in America. Her comeback is indeed very special. Five years ago she said: I have had it with pop music, I am going to paint, to spend time alone with my family, I will not play again. On Shine, her first new CD in 5 years, it is especially kind hearted forth rippling music to set the tone. The jazzy chords that we are used to, ripple away nicely. Her voice has become darker, shows perhaps some rusty spots and I think she stays a bit too much flat in one pitch. Shine is beautiful, but a bit too good/respectable." Bob NP: Peter Case, "Ain't Gonna Worry No More" - --------------------------------- Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos & more. ------------------------------ Date: Sun, 7 Oct 2007 17:30:03 +0200 From: "Marion Leffler" Subject: SV: SV: Too many people/too little land Dear Jeannie, thank you for your heart-warming words of encouragement! They lift up my spirits and make me realise that it doesn't do to run and hide because somebody got me wrong. It's just that I still feel some bad vibrations from the really bad exchange of words I had with a list member a couple of weeks ago, and I wouldn't ever want to be drawn into anything like that again. I love this list, and I do enjoy Monika's postings -- she is the last person I would want to feel upset about. So this misunderstanding made me sad but it's all cleared up now. Let's all shine on! Love, Marion - -----Ursprungligt meddelande----- Fren: owner-onlyjoni@smoe.org [mailto:owner-onlyjoni@smoe.org] Fvr jeannie Skickat: den 7 oktober 2007 02:49 Till: motitan@aol.com; marionleffler@telia.com; joni@smoe.org Dmne: Re: SV: Too many people/too little land Oh, Dearest Marion, You're too right on to be misconstrued here on the JMDL. I meant to tell you days ago, after you felt livelier after that little bout of feeling sort of lowdown with the seasonal changes, that your Shine review was written and expressed so beautifully. You're gifted in so many ways, Marion. So, just don't ever give up your fight for the light, nor let yourself get dimmed. You're light years ahead of the game and I'm so glad you are here. Lovingly, Jeannie PS: Monika's one of the coolest of the coolest fair and tender, young maidens here on the JMDL and extremely intelligent. motitan@aol.com wrote: B Hey, all is well then.B I didn't mean to upset you but from what I read (oh how writing is so easily misconstrued) anything with anyone and Hitler in the same sentence (in any sort of relation) is never a good thing (especially when it comes to Joni!).B I realize you don't actually think Joni's thinking is like Hitler's but the one comment suggested some similarity so I just wanted some clarification.B B This is what a discussion list is for!B No hard feelings, much Joni love to you. - -Monika - -----Original Message----- From: Marion Leffler To: motitan@aol.com; joni@smoe.org Sent: Sat, 6 Oct 2007 2:07 pm Subject: SV: Too many people/too little land Hi Monika, ince I was the one who mentioned Hitler I have to clarify one major mportant thing here: I did not compare Joni's thinking to Hitler. What I aid was that some people might get the idea that reducing population would ave the earth, and that was what I compared to Hitler's cry for Lebensraum. elieve me, Monika, I do know German history! And I was very clear in my ost that I did not mean to say that Joni was suggesting something like hat. So this time you really did misunderstand me. I sure hope nobody else id, because if so, I will unsub because I couldn't stand the thought of nybody believing I compared Joni to Hitler. The sheer absurdity is psetting me. arion - -----Ursprungligt meddelande----- rC%n: owner-onlyjoni@smoe.org [mailto:owner-onlyjoni@smoe.org] FC6r otitan@aol.com kickat: den 6 oktober 2007 05:24 ill: joni@smoe.org mne: Too many people/too little land "There's just too many people now oo little land..." ? I can't find who it is my email folder but someone recently mentioned eing uneasy with this particular line.? A JMDL poster said it seemed like oni was?suggesting (unintentionally I suppose) some sort of population ontrol and compared Joni's?thinking in this line to what Hitler was trying o do.? I have to say I don't find this line far off the mark at all.? In act, there's a lot of truth in it.? We, as humans, keep reproducing at a asty, hasty rate, using up resources (especially limited one with such ase), building here, building there,?etc etc.? I don't think Joni was rying to suggest killing anyone off or any means of population control at ll.? She was simply stating?what she thought.?? And it's unfair to compare her thinking to Hitler.? Hitler wasn't trying o reduce the population.? He was trying to exterminate certain groups of eople while ENCOURAGING reproduction among others he found to be superior his Aryan race...I believe his goal was to have some x million German, ryan babies be born but the number was?closer to x hundred thousand or so). That's not the same at all.? Joni speaks the truth.? Hitler spoke from his wn twisted misconceptions. Monika??? ________________________________________________________________________ mail and AIM finally together. You've gotta check out free AOL Mail! - ttp://mail.aol.com ________________________________________________________________________ Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com - --------------------------------- Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games. ------------------------------ Date: Sun, 7 Oct 2007 17:22:16 +0200 From: "Marion Leffler" Subject: SV: SV: Too many people/too little land Hi Monika, Alright, no hard feelings then. I know you didnt mean to upset me and maybe I was too sensitive but I just hate to be misunderstood because it makes it so hard to have a good discussion. And I really thought I had made myself clear. I love this list, though, and I usually enjoy your postings very much! So keep bringing it on:-) Marion _____ Fren: motitan@aol.com [mailto:motitan@aol.com] Skickat: den 6 oktober 2007 23:59 Till: marionleffler@telia.com; joni@smoe.org Dmne: Re: SV: Too many people/too little land Hey, all is well then. I didn't mean to upset you but from what I read (oh how writing is so easily misconstrued) anything with anyone and Hitler in the same sentence (in any sort of relation) is never a good thing (especially when it comes to Joni!). I realize you don't actually think Joni's thinking is like Hitler's but the one comment suggested some similarity so I just wanted some clarification. This is what a discussion list is for! No hard feelings, much Joni love to you. - -Monika - -----Original Message----- From: Marion Leffler To: motitan@aol.com; joni@smoe.org Sent: Sat, 6 Oct 2007 2:07 pm Subject: SV: Too many people/too little land Hi Monika, Since I was the one who mentioned Hitler I have to clarify one major important thing here: I did not compare Joni's thinking to Hitler. What I said was that some people might get the idea that reducing population would save the earth, and that was what I compared to Hitler's cry for Lebensraum. Believe me, Monika, I do know German history! And I was very clear in my post that I did not mean to say that Joni was suggesting something like that. So this time you really did misunderstand me. I sure hope nobody else did, because if so, I will unsub because I couldn't stand the thought of anybody believing I compared Joni to Hitler. The sheer absurdity is upsetting me. Marion - -----Ursprungligt meddelande----- Fren: owner-onlyjoni@smoe.org [mailto:owner-onlyjoni@smoe.org ] Fvr motitan@aol.com Skickat: den 6 oktober 2007 05:24 Till: joni@smoe.org Dmne: Too many people/too little land "There's just too many people now Too little land..." ? I can't find who it is my email folder but someone recently mentioned being uneasy with this particular line.? A JMDL poster said it seemed like Joni was?suggesting (unintentionally I suppose) some sort of population control and compared Joni's?thinking in this line to what Hitler was trying to do.? I have to say I don't find this line far off the mark at all.? In fact, there's a lot of truth in it.? We, as humans, keep reproducing at a hasty, hasty rate, using up resources (especially limited one with such ease), building here, building there,?etc etc.? I don't think Joni was trying to suggest killing anyone off or any means of population control at all.? She was simply stating?what she thought.?? ? And it's unfair to compare her thinking to Hitler.? Hitler wasn't trying to reduce the population.? He was trying to exterminate certain groups of people while ENCOURAGING reproduction among others he found to be superior (his Aryan race...I believe his goal was to have some x million German, Aryan babies be born but the number was?closer to x hundred thousand or so). ? That's not the same at all.? Joni speaks the truth.? Hitler spoke from his own twisted misconceptions. - -Monika??? ________________________________________________________________________ Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com _____ size=2 width="100%" align=center> Email and AIM finally together. You've gotta check out free AOL Mail ! ------------------------------ Date: Sun, 7 Oct 2007 17:42:15 +0200 From: missblux@googlemail.com Subject: NJC Feist Hi Joseph! Here's a late response to your post below. Having looked at some of the Feist videos on Youtube I think she did not sing One Evening. I found this one which, given that you like Charlotte Gainsbourg, I'd think you'd like this version: http://www.youtube.com/watch?v=lqVKOilZO2A&mode=related&search= Looking at your email address I just realized that you may be French? Or just francophile? Or francofied...? No wonder you like Gainsbourg! This video clip, to me, looks and sounds very French: I think French pop tends to be really light and, I don't know, bubbly or fluffy and elegant. And I think the French have an obsession with little girls and like their actresses and singers to put their little girl on display. I have to say that I got an overdose of it at some point -- my mother lived in France for six years so I spent a lot of time there - -- and it began to annoy me. It's for the same reason that I never really warmed up to Stina Nordenstam, although I do appreciate the music on the one CD by her that I've got. I find them all a bit contrived, but I have to admit that it may just be because I feel my type of women gets overlooked in this context... :-) I feel the same when I watch most TV commercials: 'is that what they think women are like??'. I found several versions of See-line Woman on Youtube, with Feist, only they spell it Sea Lion Woman. But maybe you want to wait until you get them on tape. Feistfully, Bene Date: Wed, 3 Oct 2007 02:02:05 +0200 (CEST) From: Joseph Palis Subject: RE : NJC Feist Thanks for the review, Bene. Through your review I was visualizing how Feist moved onstage and how she carried herself. I like your descripton of anti-glamor outfit. When she performed in Carrboro last year, she was also in tight jeans and a kind of shiny top that is hard to describe without avoiding clumsy parallels. She had a duet with Jane Birkin where their voices come together in that exciting and delicious way -- heady stuff for me. Two mezzos. She did a slow and deconstructed version of the Bee Gees' "Love You Inside and Out" in her two albums and I love the way her stark voice caresses lovingly and even tremblingly the words and melody. I am not sure if the slow songs she did were songs Blossom Dearie sang like "Tout Doucement" (Patti P. help my non-Francophone spelling) and "Now at Last" but I like the way she sang them in her album. Did she sing "One Evening"? That is my favorite track. When she sang it live here, she forgot the lyrics and had the audience feed her her own lyrics. Funny. Then someone shouted "Just sing whatever words come to your mouth" to howls of applause. If I may digress I remembered how RLJ forgot the lyrics of the song of Dylan and had the audience feed her the lyrics while she sang it. Staccato style -- awaiting the words from the audience and singing the words belatedly. Lastly, I kinda like Charlotte Gainsbourg as an actress and as a singer. I have her "5:55" album and I like it. She has this breathy style reminiscent of the style of her mother -- the 60s'-era Jane Birkin -- but I like these type of singing alright. I can't wait to listen to her messed-up version of Nina Simone's "See-Line Woman". Maybe she can include "Sugar in my Bowl" next time in her repertoire. I think "My baby just cares for me" is also a good one for her to sing. Thanks again for the review, Bene. Joseph in Chapel Hill np: Tracey Thorn - By Piccadily Station I sat Down and Wept ------------------------------ Date: Sun, 7 Oct 2007 18:19:25 +0200 From: missblux@googlemail.com Subject: Billy influence? Listening to If I had a heart, does anyone else think Billy Holiday about the way she sings "We've set our lovely sky - our lovely sky - -..."? This is in the department for tiny little details I know.... Bn ------------------------------ Date: Sun, 7 Oct 2007 18:01:19 +0200 From: missblux@googlemail.com Subject: shiny love songs Hey there, it just struck me: yes, I do miss the love songs, but then if I want to know anything about how Joni feels about love at this point in her life, she already gave it to us, abundantly I think, on Both Sides Now. I guess that is why that is one of my favourite Joni Mitchell albums. Of course she hides behind other artist's lyrics but her interpretations are extremely personal. Maybe she just thinks that that is all she wants to reveal about her personal affairs right now. Ah but what if next time she mixes the sentiment of BSN with the musicality of Shine. Just think about that! And THEN try to calm down... Bene Date: Tue, 02 Oct 2007 16:09:49 -0600 From: Robert Procyk Subject: shiny love songs Ok, i will comment here: it's not that I miss the love songs, per se, but the autobiographical stuff. You know, I have to say that while I love DED and the social commentary on that album, I am just getting tired of the whole "the world is a hell and everyone and everything is to blame." And I know that that is a sweeping statement, so please don't react to it. But what I mean is, I am not necessarily looking for songs of passionate love, but just maybe her take of love/sex/dating/relationships/solitude/whatever at this point of her life. And as I myself age and realize that I am closer to 40 than I am to 30 now, the lines from "Nothing Can Be Done" really hit home with me (I know most people, Muller included, hated that one), especially the "I am not old, I'm told/But I am not young" and the "must I surrender with grace what I loved when I was younger" bit. Anyway, after we have been privy to so much of her life through song, I'd love to h ear her thoughts and feel her emotions, especially now that she has lost her mother, and is single, and has a complicated relationship with her daughter, what regrets she has, what she looks forward to, and all of that. I know the world can be a hell. I know that some people are greedy and shallow. I know that the business sucks. But what about the rest of it? I think that is what I long for. Not so much the love songs, but the life songs. But she's at the piano again, so that almost makes up for it! Rob ------------------------------ Date: Sun, 7 Oct 2007 15:15:40 -0400 (EDT) From: "Jerry Notaro" Subject: Annie Lennox Want to plug Annie Lennox's new cd, Songs of Mass Destruction. It is sensational. If you like her, get it. Much better than her last, Bare. Jerry ------------------------------ Date: Sun, 07 Oct 2007 12:42:23 -0700 From: "Mark Scott" Subject: Re: Annie Lennox njc I agree. I just got it yesterday. I liked what I heard much better than Bare. Mark E. in Seattle - ----- Original Message ----- From: "Jerry Notaro" To: Sent: Sunday, October 07, 2007 12:15 PM Subject: Annie Lennox > Want to plug Annie Lennox's new cd, Songs of Mass Destruction. It is > sensational. If you like her, > get it. Much better than her last, Bare. > > Jerry ------------------------------ Date: Sun, 7 Oct 2007 13:55:21 -0700 (PDT) From: jeannie Subject: 2007's Big Yellow Taxi I'm not going to comment yet how I unbelievably love and enjoy this version, immensely. For the first time, just a few minutes ago, I decided to peek into the album's booklet, just to see what all instrumentation was used in the making of this incredibly beautiful, Big Yellow Taxi. Joni did all instruments by herself. This song will now be considered by me, the No. 1 song of all of my life, the most joyful one I've ever had the pleasure to listen to, which makes me the happiest inside---even when I get frustrated with the creatures and I scream at them, "Get down off of there," like Joni did in the song, 'Centerpiece,' from The Hissing Of Summer Lawns album, it has never failed to switch me from pissy over to some super-dooper joyful Joni juke box dives. Can one of the maestros please tell me exactly what instrumentation was used in this masterpiece by Joni--my musical centerpiece that stays forever young and eternally beautiful and like Hana, never gives up! jeannie PS: I still need to take a vacation to skate down a river with Herbie Hancock. For now, I'm still flying with the birds and the bees and Joni Mitchell!! - --------------------------------- Check out the hottest 2008 models today at Yahoo! Autos. ------------------------------ Date: Sun, 7 Oct 2007 21:31:02 +0000 From: Michael Subject: Shine impressions I am finally among the initiated - my partner forund a copy of Shine in a local record shop and offered it to me for my birthday. Overall I enjoy it lots. I was surprised by the staccato feeling and repetition of many of the rhythms, as in One Week Last Summer. Joni's chord progressions on the piano sound very different to me on this album. It's like she has resolved something within herself. I sense less longing and restlessness in the music. Despite the darkness of some of the lyrics, the music overall is actually very soothing, like a balm over a wound. If I were to critique, I can't say I care for the synthy and staccato sound of some of the arrangements - it would have been so much more beautiful with a string quartet or something similar, but I have come to expect that Joni always delivers a new sound with each of her albums, and this one is no exception. The only song I'm not wild about is Hana, all the rest are just fine. She saved the best for last as the album progresses. If is classic Joni at her finest. And I love the new BYT - the music is great fun. Below is just a teaser from the Globe & Mail review of the album. It was free a few weeks back, but now we must pay per view. As I recall, it was not an overly enthusiastic review, although Green is a big fan. ROBERT EVERETT-GREEN Globe and Mail Update SHINE Joni MitchellHear Music/Starbucks**Anger makes some people articulate and active, while others lapse into blocked silence. Joni Mitchell has known both sides in her reactions to what we're doing to the Earth. Her first album of new songs after almost a decade of silence finds words for the problem, and some of them are powerful. Michael in Quebec _________________________________________________________________ Express yourself with free Messenger emoticons. Get them today! http://www.freemessengeremoticons.ca/?icid=EMENCA122 ------------------------------ Date: Sun, 7 Oct 2007 21:31:58 +0000 From: Patti Parlette Subject: Shine on Ela Gandhi Dear Joniamigos: Last Thursday I attended: "The Crises of the 21st Century - Some Gandhian Solutions," a lecture delivered by Ela Gandhi, peace activist and granddaughter of Mahatma (Sanskrit, I think, for "Great Soul") Gandhi. She carries his torch, but unfortunately you don't see it very often. I thought some of you might have the urge for going with me, so I took some notes. I daresay Joni would have jumped up from her seat and clapped very hard at the end of this talk. I was really looking forward to this lecture and got there half an hour early, so as not to be denied a seat. When I arrived at the Student Union the vestibule was PACKED and I was afraid it was overflow, lost and lonely ones trying to get in. Thankfully, they hadn't opened the doors yet. Phew! I didn't want to have to resort to violent action to get into a lecture on non-violence! Lots of pretty people there, of all ages. I saw a lot of peace symbols on pocketbooks and notebooks and backpacks, and a t-shirt on a young man that made me smile: the peace symbol, with the words "Back by popular demand." Ms. Gandhi outlined ten crises (breakdowns) of this century: 1. Very limited access to information; information control (subjugation of knowledge, selective information). 2. Power of the media over our thinking and behavior (encourages violence, pornography, etc.). 3. Development of prejudices (learned from society and media; xenophobia leads to war and the loss of humanity). 4. Nature of our education (there has been a shift from the humanistic development of body, mind & soul to a technological approach by technocrats with little knowledge of humanity ("Frankenstein technologies"). We need more non-violence programs in primary school-level curricula. 5. Consumerism (high pressure marketing to buy, buy, buy and make as much money as we can) ("...Money, money, money... Money makes the trees come down It makes mountains into molehills Big money kicks the wide wide world around....") 6. Environmental issues (get new "stuff", discard old stuff, the need for armaments to protect our goods) ("...Too much rage and desire It makes you feel so feeble now It's so out of hand..."). 7. Globalization (can be good and bad; the world is now a village, but resources are controlled). 8. Dehumanization (compassion, empathy, unconditional love and undivided attention are scarce today). 9. Violence, terror and warfare (use the stick) ("Strong and wrong!"). We need right over might, she says. 10. Patriarchy more and more entrenched (despite a strong feminist movement, lives have not been improved; women still do "double shifts"). She spoke of the spiral of violence over and over again, and how a third party of innocents is led into war thinking they are patriotic citizens and who suffer great physical and psychological harm. ("Shine on dying soldiers In patriotic pain") and that we need to have passion for the causes of non-violence, dignity, human rights, greening, self-sufficiency, the "whole person", truth, peace, justice, and love. She ended, in her soft spoken way, by saying: "The future is in your hands." One woman about my age stood up with the question (that had already formed in my heart and mind): "I have been to marches and vigils and signed petitions and called my legislators but nothing seems to change. What else can we do?" I was hoping for an easy answer, but of course there is none. No Mighty Mouse or Superman. Ms. Gandhi replied: "Increase the number of people who will stand up with you. Take power in your hands. Yes, it is frustrating, but continue! The force is inside you. Accept the suffering that comes from this work. Don't lose hope!" Of course, that made me think of: If you can force your heart And nerve and sinew To serve you After all of them are gone And so hold on When there is nothing in you Nothing but the will That's telling you to hold on! Hold on! and Hana says when life's a drag Don't cave in Don't put up a white flag Raise up A white banner In this manner- Straighten your back Dig in your heals And get a good grip on your grief! Hana says, "Don't get me wrong This is no simple Sunday song Where God or Jesus comes along And they save ya." You've got to be braver than that You tackle the beast alone With all its tenacious teeth! Light the lamp. And you know there are many more Joni lyrics to support Ms. Gandhi's vision. The lecture was both sides now. Hope and hopelessness. Bad dreams are good in the great plan, I guess, if you can "hold on!" and keep hearing Joni inspire us with words like this: Cause you've got the fight You've got the insight You've got the fight You've got the insight Love, Patti P. P.S. Inspired by these two great women, I share two good websites; And I'm sending you out This signal here I hope you can pick it up Loud and clear http://iraqmoratorium.org/ If you click on "see who's signed the petition" on the right, you can look for people you know in your state who have signed the pledge. If you sort by location, you can see me in Mansfield CT, a broadcasting tower, waving for you! and www.imaginepeace.com now has a video message from Dennis Kuchinich. Please share these websites with like-minded people. You won't see these things on your TV screen or in the newspapers these days. It's up to us to spread the word. Merci beaucoup! http://media.www.dailycampus.com/media/storage/paper340/news/2007/10/05/News/Ela-Gandhi.Tells.Of.Apartheid.Struggle-3015031.shtml _________________________________________________________________ Peek-a-boo FREE Tricks & Treats for You! http://www.reallivemoms.com?ocid=TXT_TAGHM&loc=us ------------------------------ Date: Sun, 7 Oct 2007 17:32:22 -0700 (PDT) From: rian afriadi Subject: BYT 2007 : the price to visit the tree museum 37 years ago, the tree museum charged $1.5 to see the trees now joni says that the three museum charges an arm and a leg what does it mean? inflation huh? - --------------------------------- Shape Yahoo! in your own image. Join our Network Research Panel today! ------------------------------ Date: Sun, 7 Oct 2007 20:43:19 -0400 From: "Richard Flynn" Subject: RE: 2007's Big Yellow Taxi Umm. I think it's a synthesizer (maybe synthesizer and guitar). Glad you like it. - -----Original Message----- From: owner-joni@smoe.org [mailto:owner-joni@smoe.org] On Behalf Of jeannie Sent: Sunday, October 07, 2007 4:55 PM To: joni@smoe.org Subject: 2007's Big Yellow Taxi Can one of the maestros please tell me exactly what instrumentation was used in this masterpiece by Joni--my musical centerpiece that stays forever young and eternally beautiful and like Hana, never gives up! - --------------------------------- Check out the hottest 2008 models today at Yahoo! Autos. ------------------------------ Date: Sun, 7 Oct 2007 21:03:50 -0400 (EDT) From: "Jerry Notaro" Subject: Re: BYT 2007 : the price to visit the tree museum rian afriadi wrote: > 37 years ago, the tree museum charged $1.5 to see the trees > > now joni says that the three museum charges an arm and a leg > > what does it mean? > > inflation huh? > She's changed the price several times of the years. I remember her once saying 25 bucks in a recording. Shows her passion to stay contemporary and her disdain for keeping things stagnant. Jerry ------------------------------ Date: Mon, 8 Oct 2007 05:29:39 +0200 (CEST) From: Joseph Palis Subject: RE : NJC Feist Hi Bene, Thanks for the link on youtube. Me like it. I got me Feist's latest album "The Reminder" this afternoon along with a rare Mississippi John Hurt CD that collects his 1928 recordings in beautiful recorded sound. I listened to a couple of tracks from Feist's album and I am liking almost all of the tracks. First impressions can do that for me. She started with "So Sorry" which has the same chordal progressions as "One Evening". Very nice and light syncopation complementing her alto voice so exquisitely. So far I am liking "1234", "Brandy Alexander" and "The Limit To Your Love". She did sing Nina Simone's See-Line Woman (but spelled in the CD as "Sealion", although in the liner notes, it mentioned that the song borrows from Nina Simone's song -- but they still incorrectly spelled it as "Sea Lion Woman" which is quite cute). I am not French even if my email has an "fr" end in it. At that time I was exploring the various yahoo icons from various regions of the world because my friend in grad school and I love to see how various iconographies are used worldwide and how differences in icons vary for some continents. I think we were already looking at France at that time when I decided to open a new yahoo account with my full name on it. Then I was surprised to see French-language instructions asking me to complete my account. Which I did with a little difficulty. I was amused how I can get by opening a yahoo account without knowing the language like Patti P. But a large part of my insistence to hold on to the "fr" end of my yahoo email address is because of my fascination -- not really love -- with much of the French thinkers we were made to read in grad school. I wished I know French so I can read the books of Deleuze or Baudrillard or Auge or Lefebvre in the language they originally wrote their books in. I am sure there are nuances that escaped the translation to English. But that's another story. Aside from the French poststructuralist writers I have come to like -- again I can't say I love them -- are French movies and singers much like my great interest in Portuguese and Scandinavian music/cinema. I like Charlotte Gainsbourg as an actress. She is extremely talented and she has a rather odd face that may strike otehr people as ugly or beautiful. I am in the latter camp. She was great in most French films I see her in but also wonderful in films that cross the borders of France like "The Science of Sleep" and "New World" and even her small part in "21 Grams". Her style of singing may not appeal to a broad audience but I like it -- I guess part of it is because I am already a fan of hers, that is why I am biased. I can't say that French pop somehow encourages the girl singers to be girlish btu I think I am seeing a trend that shows otherwise. Although when you think singers like Brigitte Fontaine as examples, they can't come as strange as her and her music -- but then again she is not typical of the French pop singers. I like Stina Nordenstam a lot -- I have other records of hers and she sounds exactly like she sounds in her other albums. I don't think she is putting on an act but it is hard to know these days. Even Joss Stone whose first album I adore, said in a recent interview that her foray to old school soul is just to please some people and it is not really what would want to do given the chance. In her latest album she has indeed flown farther from old school soul. But Feist, like Cat Power, seems to chart their musical paths in their own terms although they are cognizant of the forces within the music industry that may put some pressure on their music directions. Thanks for the Feist review again and for the other nice links. Joseph in np: Ledisi - Coffee missblux@googlemail.com a icrit : Hi Joseph! Here's a late response to your post below. Having looked at some of the Feist videos on Youtube I think she did not sing One Evening. I found this one which, given that you like Charlotte Gainsbourg, I'd think you'd like this version: http://www.youtube.com/watch?v=lqVKOilZO2A&mode=related&search= Looking at your email address I just realized that you may be French? Or just francophile? Or francofied...? No wonder you like Gainsbourg! This video clip, to me, looks and sounds very French: I think French pop tends to be really light and, I don't know, bubbly or fluffy and elegant. And I think the French have an obsession with little girls and like their actresses and singers to put their little girl on display. I have to say that I got an overdose of it at some point -- my mother lived in France for six years so I spent a lot of time there - -- and it began to annoy me. It's for the same reason that I never really warmed up to Stina Nordenstam, although I do appreciate the music on the one CD by her that I've got. I find them all a bit contrived, but I have to admit that it may just be because I feel my type of women gets overlooked in this context... :-) I feel the same when I watch most TV commercials: 'is that what they think women are like??'. I found several versions of See-line Woman on Youtube, with Feist, only they spell it Sea Lion Woman. But maybe you want to wait until you get them on tape. Feistfully, Bene Date: Wed, 3 Oct 2007 02:02:05 +0200 (CEST) From: Joseph Palis Subject: RE : NJC Feist Thanks for the review, Bene. Through your review I was visualizing how Feist moved onstage and how she carried herself. I like your descripton of anti-glamor outfit. When she performed in Carrboro last year, she was also in tight jeans and a kind of shiny top that is hard to describe without avoiding clumsy parallels. She had a duet with Jane Birkin where their voices come together in that exciting and delicious way -- heady stuff for me. Two mezzos. She did a slow and deconstructed version of the Bee Gees' "Love You Inside and Out" in her two albums and I love the way her stark voice caresses lovingly and even tremblingly the words and melody. I am not sure if the slow songs she did were songs Blossom Dearie sang like "Tout Doucement" (Patti P. help my non-Francophone spelling) and "Now at Last" but I like the way she sang them in her album. Did she sing "One Evening"? That is my favorite track. When she sang it live here, she forgot the lyrics and had the audience feed her her own lyrics. Funny. Then someone shouted "Just sing whatever words come to your mouth" to howls of applause. If I may digress I remembered how RLJ forgot the lyrics of the song of Dylan and had the audience feed her the lyrics while she sang it. Staccato style -- awaiting the words from the audience and singing the words belatedly. Lastly, I kinda like Charlotte Gainsbourg as an actress and as a singer. I have her "5:55" album and I like it. She has this breathy style reminiscent of the style of her mother -- the 60s'-era Jane Birkin -- but I like these type of singing alright. I can't wait to listen to her messed-up version of Nina Simone's "See-Line Woman". Maybe she can include "Sugar in my Bowl" next time in her repertoire. I think "My baby just cares for me" is also a good one for her to sing. Thanks again for the review, Bene. Joseph in Chapel Hill np: Tracey Thorn - By Piccadily Station I sat Down and Wept - --------------------------------- Ne gardez plus qu'une seule adresse mail ! Copiez vos mails vers Yahoo! Mail ------------------------------ Date: Mon, 8 Oct 2007 06:21:42 +0200 (CEST) From: Joseph Palis Subject: Dianne Reeves NJC I attended Dianne Reeves' concert in Chapel Hill tonight. She was backed by a trio of Greg Hutchinson on drums, Billy Childs on piano and a bassist whose name escapes me but who Dianne introduced as hailing from St. Thomas in the Virgin Islands. The concert started with the trio performing a spirited and really swinging version of "Autumn Leaves". Then Dianne came out to great applause. She started with Jobim's "Song of the Jet" that combined power scats and colorful vocal embellishments that are not out of place in Sarah Vaughan's musical palette. Dianne's voice functioned like an instrument when she hits high notes to approximate the sound of samba instruments. She then lapsed into a hilarious sung patter that commented on the weather, and some technical difficulties that had the audience clapping and cheering. It appears that one of the strings of the bassist's upright bass broke but it did not stop the bassist from doing frenzied plucking reminiscent of Gary Peacock who also came to town last year. After the song, she was given a long and thunderous applause. The drummer and bassist left the stage after the song. Then Dianne sang a duet with pianist Billy Childs but not before a long story about how they met and when they started as musicians and under what circumstances. Then she did a mind-blowing version of "Embraceable You" with just her voice and Billy Childs' impressionistic pianism. How she caressed Gershwin's lyrics in that masterful voice displayed the magnificence of her range. Her lowest range goes subterranean low that made me recall singers as diverse as latter day Milton Nascimento to Julia Fordham to Cassandra Wilson. And what's strange is that I don't even like "Embraceable You" as a song that much (same with "When I Fall In Love" and "As Time Goes By" but please don't slay me for admitting that -- just a personal preference). But Dianne made the song sexy, smooth-as-molasses and elevates it to jazz art song which many many many people think the song already is -- even more so because Gershwin wrote it. So I give props to Dianne for making the song beautiful in my ears. Then she launched a very funny story about how she was made a part of George Clooney's "Goodnight and Goodluck." She was swooning for Clooney the entire time she was telling the story in that unaffected way of hers. By this time the drummer and bassist came back on stage with the bassist carrying a new bass with all the strings in place. Then the bassist checked the chords and strings as he plucked so effortlessly and making glorious sounds of improvisations that earned applause from the audience. Then Dianne sang one of the songs from GNAGL. The song is one of the most enduring salon songs that Sinatra made famous: "One For My Baby". Dianne sang it with just the bass as accompaniment. And what is very impressive is that while the bass is making discordant sounds in the background, Dianne's sense of pitch remained. It looks like she is one of those singers who can sing with just any arrangement or charts thrown her way and she can float the song's melody without apparent difficulty. I have heard singers wth this type of gift -- Janis Siegel, Ann Hampton Callaway, Annie Ross. Dianne's perfomance of this song shows the colors of her voice, vocal security, pitch and a keen understanding of the song's dynamics. Great applause after the song. Then she did a swing-y "Social Call" that had people tapping their feet to keep time with the rhythm. Me included. Next she did a song that I have not heard before. This has a rather contemporary arrangement that recalled the songs from her earlier albums such "Never Too Far", "Welcome to my Love" and "Dianne Reeves". It was a very committed performance, very intense and shows the great rapport she had with her trio who seems to be in psychic level with her in all aspects. From her sudden stops to even some glottal runs -- it is fun to see their body language so totally in sync with what's going on. The song was not that memorable but the level of musicianship and commitedness to the song are undeniable. She also sang one of her own compositions called "Nine" which was taken from her "Quiet After the Storm" album (that also contained her very beautiful and ultra-slow version of BSN). The song has a very catchy melody and her vocalese turns are amazing to hear given that she seems to have an enormous vocal reservoir that do not require her to breath. The next song she did has a little background story about meeting a handsome guy in school and how she fantasized having children with him and their future together. Then she sang the song that tells that story but with so much beauty of tone and passages after passages of astoundingly lovely vocalism. The tempo slowed down midway through the almost 10-minute song so she can finish the story. She saw the guy again a few years later in a grocery store and she felt awkward because she was only in her running outfit. Then the guy introduced her to his male partner -- the drummer made a sudden stop that parallels the sound when something goes out of tune. The Dianne finished the song with a "both sides now" kinda outlook in life. Applause naturally. Then she launched into her most famous song "Better Days" with so much flavorful vocal accoutrements that it is hard to believe that a song so familiar can still be sung differently that brings out new musical hues I didn't know can still be mined. The she bid her goodbye. The applause for an encore was deafening. She came out twice before singing a capella. The song is just a wordless onomatopoeia of sounds that gradually became a spiritual that had everyone snapping their fingers to keep time. A very beautiful way to end the concert. When I think about it, she only sang 8 songs in the concert but since most of her song performances take more 10 minutes to complete -- each song could have been a jazz instrumental improvisation. And each song is dispatched with professionalism and such high level of musicianship that comes from endless concerts and extreme talent. It is also good that she is not touring in support of an album -- because it allows her to dip into her wide repertory of songs and give the audience a representative sample of her musical roots, styles and influences and how her voice became a medium to convey all these facets. Sorry, no Joni song in her play list tonight, but I got a chance to talk to her after the concert. Joseph in Chapel Hill np: Pat Metheny - Cathedral in a Suitcase - --------------------------------- Ne gardez plus qu'une seule adresse mail ! Copiez vos mails vers Yahoo! Mail ------------------------------ Date: Sun, 7 Oct 2007 22:22:58 -0700 (PDT) From: jeannie Subject: RE: 2007's Big Yellow Taxi Hello, Richard. I don't know much about synthesizers because it reminds me of that Madonna, post disco days, pop tart sound. But with Joni, it all flows out in such exquisite beauty, that I forget. Today, my son was explaining to me about Joni's work with Thomas Dolby on Dog Eat Dog, telling me things I didn't know. That's his favorite album. He likes the synthesizer sound. Does the synthesizer make the accordian sound on BYT? Or is that a harmonica? I feel so dumb asking these questions, but that sound is so new to Joni's music and I love it! I love the whole new arrangement. I can't believe Joni's genius when it comes to creation. jeannie PS: Thanks, Maestro! Richard Flynn wrote: Umm. I think it's a synthesizer (maybe synthesizer and guitar). Glad you like it. - -----Original Message----- From: owner-joni@smoe.org [mailto:owner-joni@smoe.org] On Behalf Of jeannie Sent: Sunday, October 07, 2007 4:55 PM To: joni@smoe.org Subject: 2007's Big Yellow Taxi Can one of the maestros please tell me exactly what instrumentation was used in this masterpiece by Joni--my musical centerpiece that stays forever young and eternally beautiful and like Hana, never gives up! - --------------------------------- Check out the hottest 2008 models today at Yahoo! Autos. - --------------------------------- Check out the hottest 2008 models today at Yahoo! Autos. ------------------------------ Date: Sun, 7 Oct 2007 22:44:41 -0700 (PDT) From: jeannie Subject: Re: Dianne Reeves NJC Geez, Joseph, you really know your stuff. So eloquent. But, on about paragraph 11, you write, "The whole song is just a wordless onomatopoeia of sounds that gradually become a spiritual that had everyone snapping their fingers to keep time." What do you mean by it became a spiritual? That concert sounds like it was outta sight! Thanks for that awesome write-up. I'm very impressed. jeannie Joseph Palis wrote: I attended Dianne Reeves' concert in Chapel Hill tonight. She was backed by a trio of Greg Hutchinson on drums, Billy Childs on piano and a bassist whose name escapes me but who Dianne introduced as hailing from St. Thomas in the Virgin Islands. The concert started with the trio performing a spirited and really swinging version of "Autumn Leaves". Then Dianne came out to great applause. She started with Jobim's "Song of the Jet" that combined power scats and colorful vocal embellishments that are not out of place in Sarah Vaughan's musical palette. Dianne's voice functioned like an instrument when she hits high notes to approximate the sound of samba instruments. She then lapsed into a hilarious sung patter that commented on the weather, and some technical difficulties that had the audience clapping and cheering. It appears that one of the strings of the bassist's upright bass broke but it did not stop the bassist from doing frenzied plucking reminiscent of Gary Peacock who also came to town last year. After the song, she was given a long and thunderous applause. The drummer and bassist left the stage after the song. Then Dianne sang a duet with pianist Billy Childs but not before a long story about how they met and when they started as musicians and under what circumstances. Then she did a mind-blowing version of "Embraceable You" with just her voice and Billy Childs' impressionistic pianism. How she caressed Gershwin's lyrics in that masterful voice displayed the magnificence of her range. Her lowest range goes subterranean low that made me recall singers as diverse as latter day Milton Nascimento to Julia Fordham to Cassandra Wilson. And what's strange is that I don't even like "Embraceable You" as a song that much (same with "When I Fall In Love" and "As Time Goes By" but please don't slay me for admitting that -- just a personal preference). But Dianne made the song sexy, smooth-as-molasses and elevates it to jazz art song which many many many people think the song already is -- even more so because Gershwin wrote it. So I give props to Dianne for making the song beautiful in my ears. Then she launched a very funny story about how she was made a part of George Clooney's "Goodnight and Goodluck." She was swooning for Clooney the entire time she was telling the story in that unaffected way of hers. By this time the drummer and bassist came back on stage with the bassist carrying a new bass with all the strings in place. Then the bassist checked the chords and strings as he plucked so effortlessly and making glorious sounds of improvisations that earned applause from the audience. Then Dianne sang one of the songs from GNAGL. The song is one of the most enduring salon songs that Sinatra made famous: "One For My Baby". Dianne sang it with just the bass as accompaniment. And what is very impressive is that while the bass is making discordant sounds in the background, Dianne's sense of pitch remained. It looks like she is one of those singers who can sing with just any arrangement or charts thrown her way and she can float the song's melody without apparent difficulty. I have heard singers wth this type of gift -- Janis Siegel, Ann Hampton Callaway, Annie Ross. Dianne's perfomance of this song shows the colors of her voice, vocal security, pitch and a keen understanding of the song's dynamics. Great applause after the song. Then she did a swing-y "Social Call" that had people tapping their feet to keep time with the rhythm. Me included. Next she did a song that I have not heard before. This has a rather contemporary arrangement that recalled the songs from her earlier albums such "Never Too Far", "Welcome to my Love" and "Dianne Reeves". It was a very committed performance, very intense and shows the great rapport she had with her trio who seems to be in psychic level with her in all aspects. From her sudden stops to even some glottal runs -- it is fun to see their body language so totally in sync with what's going on. The song was not that memorable but the level of musicianship and commitedness to the song are undeniable. She also sang one of her own compositions called "Nine" which was taken from her "Quiet After the Storm" album (that also contained her very beautiful and ultra-slow version of BSN). The song has a very catchy melody and her vocalese turns are amazing to hear given that she seems to have an enormous vocal reservoir that do not require her to breath. The next song she did has a little background story about meeting a handsome guy in school and how she fantasized having children with him and their future together. Then she sang the song that tells that story but with so much beauty of tone and passages after passages of astoundingly lovely vocalism. The tempo slowed down midway through the almost 10-minute song so she can finish the story. She saw the guy again a few years later in a grocery store and she felt awkward because she was only in her running outfit. Then the guy introduced her to his male partner -- the drummer made a sudden stop that parallels the sound when something goes out of tune. The Dianne finished the song with a "both sides now" kinda outlook in life. Applause naturally. Then she launched into her most famous song "Better Days" with so much flavorful vocal accoutrements that it is hard to believe that a song so familiar can still be sung differently that brings out new musical hues I didn't know can still be mined. The she bid her goodbye. The applause for an encore was deafening. She came out twice before singing a capella. The song is just a wordless onomatopoeia of sounds that gradually became a spiritual that had everyone snapping their fingers to keep time. A very beautiful way to end the concert. When I think about it, she only sang 8 songs in the concert but since most of her song performances take more 10 minutes to complete -- each song could have been a jazz instrumental improvisation. And each song is dispatched with professionalism and such high level of musicianship that comes from endless concerts and extreme talent. It is also good that she is not touring in support of an album -- because it allows her to dip into her wide repertory of songs and give the audience a representative sample of her musical roots, styles and influences and how her voice became a medium to convey all these facets. Sorry, no Joni song in her play list tonight, but I got a chance to talk to her after the concert. Joseph in Chapel Hill np: Pat Metheny - Cathedral in a Suitcase - --------------------------------- Ne gardez plus qu'une seule adresse mail ! Copiez vos mails vers Yahoo! Mail - --------------------------------- Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos & more. ------------------------------ End of JMDL Digest V2007 #407 ***************************** ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------