From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2012 #984 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 Website:http://jonimitchell.com JMDL Digest Wednesday, July 11 2012 Volume 2012 : Number 984 ========== TOPICS and authors in this Digest: -------- Re: Rare (Unreleased) Joni songs [Bob Muller ] Dulcimer playing [Steve Dulson ] Re: Great Joni interviews [mflaher3@yahoo.com] re:Joni Mitchell's Blue: a 40th Anniversary Celebration [c Karma Subject: Re: Rare (Unreleased) Joni songs Believe it or not, the answer is on Jonimitchell.com (lest any of stray to a roofing website). http://jonimitchell.com/music/album.cfm?id=1 Only a handful of these that I haven't heard, either by Joni or by a cover. Bob NP: Laura Nyro, "Children Of The Junks" ________________________________ From: Shari Eaton To: JONIMITCHELL DISCUSSION LIST Sent: Tuesday, July 10, 2012 1:26 PM Subject: Rare Joni videos Gift of the Magi http://www.youtube.com/watch?v=Z_nJSAwQaoA Joni Mitchell in Laurel Canyon http://www.youtube.com/watch?v=MRu-DmBEvH4&feature=related I stumbled upon The Gift of the Magi yesterday. It was a first listen for me so thought I'd pass it along and see if there were any other hidden gems that anyone else knew of. Cheers, Shari ------------------------------ Date: Tue, 10 Jul 2012 17:19:57 -0400 From: Steve Dulson Subject: Dulcimer playing Bob wrote: >A pretty easy one, I think...she played dulcimer on her 1983 world tour, >specifically on ACOY with keyboard accompaniment on some shows. I'm not >aware of her playing it anytime since then. Bob beat me to it - yes, I saw her play ACOY on that tour, but did not see her with a dulcimer again (eg 1987 Cowboys for Indians and 1993 Troubadours of Folk). *************************************************** Steve Dulson Costa Mesa CA FAR-West (Folk Alliance Region - West) tinkersown@ca.rr.com www.far-west.org ------------------------------ Date: Tue, 10 Jul 2012 13:47:02 -0500 From: mflaher3@yahoo.com Subject: Re: Great Joni interviews My favorite Joni interviews were the two she did with Bill Flanagan for Musician magazine. This was in the 80s. I was already a big Joni fan, but my understanding and appreciation of her was raised a great deal after reading them-particularly the first one. Michael F. Sent from my iPhone On Jul 10, 2012, at 6:35 AM, Paul Ivice wrote: > On the subject of Great Joni Interviews, Susan Tierney McNamara > wwrote: > My favorite interview of Joni is the August 1996 cover feature in Acoustic > Guitar magazine. The photos are classic, the article is wonderful (writer > Jeffrey Pepper Rodgers), and there is an awesome gear section and a spot on > transcription of Just Like This Train. I also love that this article came out > after Turbulent Indigo, which really reveals the full circle of the guitar > odyssey as Mr. Rodgers describes it. > > > For me, it is the 1979 "Ignorance is Bliss" interview with Down Beat > (http://jonimitchell.com/library/view.cfm?id=95&from=search) in which Joni > details her first forays into jazz. > Excerpt: > All the time that I've been a musician, I've always been a bit of an oddball. > When I was considered a folk musician, people would always tell me that I was > playing the wrong chords, traditionally speaking. When I fell into a circle of > rock 'n' roll musicians and began to look for a band, they told me I'd better > get jazz musicians to play with me, because my rhythmic sense and my harmonic > sense were more expansive. The voicings were broader; the songs were > deceptively simple. And when a drummer wouldn't notice where the feel changed, > or where the accent on the beat would change, and they would just march > through it in the rock 'n' roll tradition, I would be very disappointed and > say, "Didn't you notice there was a pressure point here," or "Here we change," > and they just would tell me, 'Joni, you better start playing with jazz > musicians." > Then, when I began to play with studio jazz musicians, whose hearts were in > jazz but who could play anything, they began to tell me that I wasn't playing > the root of the chord. So all the way along, no matter who I played with, I > seemed to be a bit of an oddball. I feel more natural in the company that I'm > keeping now, because we talk more metaphorically about music. There's less > talk and more play. > > You've been associating with jazz studio musicians for how long? > Four years. I made Court Spark five albums ago. > > Did that come about by design or by accident? > The songs were written and I was still looking for a band intact, rather than > having to piece a band together myself. Prior to that album, I had done a few > things with Tom Scott, mostly doubling of existing guitar lines. I wanted it > to be a repetition or gilding of existing notes within my structure. So > through him, I was introduced to that band. I went down to hear them at the > Baked Potato in Studio City and that's how all that came about. > They all found it extremely difficult at first, hearing the music just played > and sung by one person; it sounded very frail and delicate, and there were > some very eggshelly early sessions where they were afraid they would squash > it, whereas I had all the confidence in the world that if they played > strongly, I would play more strongly. > > So from that point on you worked with the L.A. Express? > We worked together for a couple of years, in the studio and on the road. > > Did that expand your knowledge, being around them so much? > Not really, not in an academic sense. It gave me the opportunity to play with > a band and to discover what that was like. But I still was illiterate in that > I not only couldn't read, but I didn't know - and don't to this day - what key > I'm playing in, or the names of my chords. I don't know the numbers, letters, > or the staff. I approach it very paintingly, metaphorically: so I rely on > someone that I'm playing with, or the players themselves, to sketch out the > chart of the changes. I would prefer that we all just jumped on it and really > listened. > Miles always gave very little direction, as I understand. It was just "Play > it. If you don't know the chord there, don't play there," and that system > served him well. It was a natural editing system. It created a lot of space > and a lot of tension, because everybody had to be incredibly alert and trust > their ears. And I think that's maybe why I loved that music as much as I did, > because it seemed very alert and very sensual and very unwritten. > > And you, in turn, trusted your own ears. > I do trust my own ears. Even for things that seem too outside. For instance, > sometimes I'm told that So-and-So in the band, if I hadn't already noticed, > was playing outside the chord. I see that there's a harmonic dissonance > created; but I also think that the line that he's created, the arc of it, > bears some relationship to something else that's being played, therefore it's > valid. So in my ignorance there's definitely a kind of bliss. I don't have to > be concerned with some knowledge that irritates other people. > > Paul Ivice ;>) ------------------------------ Date: Wed, 11 Jul 2012 03:50:52 +0000 From: c Karma Subject: re:Joni Mitchell's Blue: a 40th Anniversary Celebration My office is a single block away from NY City Winery...how disappointing that I'm in LA this week and next, and not able to go see that show. I suppose it would have been worse had I gotten tickets and then not been able to attend. CC ------------------------------ End of JMDL Digest V2012 #984 ***************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------