From: owner-onlyjoni-digest@smoe.org (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V2012 #222 Reply-To: joni@smoe.org Sender: owner-onlyjoni-digest@smoe.org Errors-To: owner-onlyjoni-digest@smoe.org Precedence: bulk Website:http://www.jonimitchell.com Unsubscribe:mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe onlyJMDL Digest Saturday, July 14 2012 Volume 2012 : Number 222 ========== TOPICS and authors in this Digest: -------- Retro Covers, Volume 68 [Bob Muller ] David Crosby and Joni [Victor ] Re: Great Joni Interviews ["Mark" ] Re: Bob Dylan and Joni Mitchell at the United Center [mflaher3@yahoo.com] Re: Great Joni interviews [Shari Eaton ] RE: Great Joni interviews [Susan Tierney McNamara ] [none] [Mitch Rustad ] Re: Great Joni interviews [mflaher3@yahoo.com] Re: Great Joni Interviews [Shari Eaton ] ---------------------------------------------------------------------- Date: Sat, 14 Jul 2012 12:32:48 -0700 (PDT) From: Bob Muller Subject: Retro Covers, Volume 68 Hi all, almost forgot to upload a covers volume for the weekend - oh the horrors! I missed last weekend as I was out of town for a wedding... Anyway, here's Volume 68, from several years ago. If you didn't get it last time, here's your chance. If you didn't get it last time and still don't want it, do nothing. Some fun stuff, including Hebrew language versions of "Carey" & BSN. How does Moses make tea? He brews it! The link: http://tinyurl.com/87vy4ex Casey Kasem's Top 20 on this CD: 1. Eddie Shelton - Both Sides Now 2. Lothar Theismann - Black Crow 3. Chava Alberstein - Carey (Hebrew) 4. Lea Oz - Blue 5. Ayshea Brough - Both Sides Now 6. Sarah Lentz - River 7. Susan Anders - The Circle Game 8. Brad Mehldau - Roses Blue 9. Michal Tal - Both Sides Now (Hebrew) 10. Donna Colton - River 11. Ron & Ann Holm - Rainy Night House 12. Roland Staring - Big Yellow Taxi 13. Weavers Green - Both Sides Now 14. Stage - - River 15. Lesley Byers & The Jazz Cats - Twisted 16. Dave Falciani - Big Yellow Taxi 17. Richard Abel - Both Sides Now 18. Roland Staring - A Case Of You 19. Rachel Yamagata - The River 20. Uncle Seth - Big Yellow Taxi Enjoy! Bob NP: Jackson Browne, "The Fuse" ------------------------------ Date: Sat, 14 Jul 2012 21:34:42 -0400 From: Victor Subject: David Crosby and Joni It's intermission at the CSN show but in the first set, they were about to play a song written by James Raymond, Crosby's son, and Crosby said he's had to get used to having someone in the family who's a better musician than he is. Then he said it was like when he lived with Joni Mitchell (and according to him Graham Nash wasn't intimidated) - Crosby said he would have just written one song and Joni would come in, having written four. Looking forward to the next set! Victor at CSN in Alpharetta (with a beautiful clear sky, unlike Tuesday at the Further show) Sent from my iPhone ------------------------------ Date: Tue, 10 Jul 2012 05:45:00 -0700 From: "Mark" Subject: Re: Great Joni Interviews This isn't an actual question and answer interview, it's more of a piece with quotes from an interview interspersed in it. But I learned a lot about Joni herself when this came out way back in 1995. It doesn't seem that long ago to me. http://jonimitchell.com/library/view.cfm?id=115&from=search Mark in Seattle - -----Original Message----- From: Shari Eaton Sent: Monday, July 09, 2012 12:18 PM To: JONIMITCHELL DISCUSSION LIST Subject: Great Joni Interviews Please don't let Bob's link to John Manville's insulation and roofing website be the end of the Great Joni Interviews discussion. ;) I love reading Joni or listening to her talk just as much as I enjoy hearing her music. Her opinions and insights give my mind and soul sustenance for days. Even if they're the most popular, please send your favorites through. Some of us may have missed one or two or would simply benefit from a reminder that they occurred and are recorded somewhere online. Lots of Joni, Shari ------------------------------ Date: Mon, 9 Jul 2012 11:50:09 -0500 From: mflaher3@yahoo.com Subject: Re: Bob Dylan and Joni Mitchell at the United Center Laura, thank you so much for directing me to that. Fantastic. I wish she had done her standards album with that band. Michael F. Sent from my iPhone On Jul 7, 2012, at 2:47 PM, est86mlm@ameritech.net wrote: > Michael, > > I was there too! Great show. > > Here's a trip down memory lane. > > Comes Love > http://jonimitchell.com/library/video.cfm?id=223&from=search > > Laura > > Facebook FREEBIE: > Get FREE G Fuel Stick Pack Drink Mix Sample Packs on facebook. > "Like" them and get the form: > https://www.facebook.com/GammaLabs/app_365376453747 > > FREE Food at Dennys for Android & iPhone Users > Download the Dennybs app for the iPhone > http://itunes.apple.com/app/dennys-challenge/id527548554?mt=8 > or > Android app > https://play.google.com/store/apps/details?id=air.com.dennys.mobile.A50state& feature=nav_result > and earn free food for checking in. > > For your first check-in get a FREE soft drink or coffee. > Check-in between 4:01 am and 7:00 am, & get a FREE soft drink or coffee. > Check-in at 11:11 am or pm and get a FREE Pancake Puppies Sundae. > Check-in to two (2) different locations within an hour and get a FREE Milk Shake. > > > From: mflaher3@yahoo.com > Subject: Re: New Library item: Bob Dylan and Joni Mitchell at the United Center > > I was at this show. Despite some heckling, Joni commanded the arena musically and personally. Making music that good in those circumstances is truly amazing. > > Michael F. > > Sent from my iPhone > >> Title: Bob Dylan and Joni Mitchell at the United Center >> Publication: Chicago Sun Times >> Date: 1998.10.27 >> >> http://jonimitchell.com/library/view.cfm?id=2510 ------------------------------ Date: Tue, 10 Jul 2012 06:50:18 -0700 From: Shari Eaton Subject: Re: Great Joni interviews Ahhh I see ... "Instead of writing out guitar tunings using the note names for each string, Joni herself uses a system of one letter and five numbers to describe each tuning. The letter is the note name of the bottom (lowest pitch) string, and the numbers represent the fret numbers at which you play one string to be able to tune the next open string." http://jonimitchell.com/music/notation.cfm : ) Shari On Jul 10, 2012, at 6:03 AM, Bob.Muller@Fluor.com wrote: > Do you think she just memorized it all?> > > Joel Bernstein took care of that for her. > > Bob > > NP: Ben Folds, "Learn To Live With What You Are" > ------------------------------------------------------------ > The information transmitted is intended only for the person > or entity to which it is addressed and may contain > proprietary, business-confidential and/or privileged material. > If you are not the intended recipient of this message you are > hereby notified that any use, review, retransmission, dissemination, > distribution, reproduction or any action taken in reliance upon > this message is prohibited. If you received this in error, please > contact the sender and delete the material from any computer. > > Any views expressed in this message are those of the individual > sender and may not necessarily reflect the views of the company. > ------------------------------------------------------------ ------------------------------ Date: Tue, 10 Jul 2012 14:09:28 +0000 From: Susan Tierney McNamara Subject: RE: Great Joni interviews Excellent, Paul!! I think I have that magazine too somewhere. YEAH! Susan Tierney McNamara email: sem8@cornell.edu - -----Original Message----- From: owner-joni@smoe.org [mailto:owner-joni@smoe.org] On Behalf Of Paul Ivice Sent: Tuesday, July 10, 2012 7:35 AM To: joni@smoe.org Subject: Great Joni interviews 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 17:40:38 -0400 (EDT) From: Mitch Rustad Subject: [none] http://my-sv.toypark.in/etropk.html?vvnb=jlygbg ------------------------------ 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: Mon, 9 Jul 2012 17:10:36 -0700 From: Shari Eaton Subject: Re: Great Joni Interviews I keep the original magazine in an environmentally regulated glass case. Haha. Seriously! Thanks for this. On Jul 9, 2012, at 12:58 PM, Susan Tierney McNamara wrote: > 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. I keep the original magazine in an environmentally regulated glass case. (JK) > > Excerpt: > > "There's a certain kind of restlessness that not many artists are cursed or blessed with, depending on how you look at it," Mitchell said. "Craving change, craving growth, seeing always room for improvement in your work." In that statement lies the key to her music: seeing it as an ongoing process of invention, rather than a series of discrete and final statements. > > So how does Mitchell discover the tunings and fingerings that create these expansive harmonies? Here's how she described the process: "You're twiddling and you find the tuning. Now the left hand has to learn where the chords are, because it's a whole new ballpark, right? So you're groping around, looking for where the chords are, using very simple shapes. Put it in a tuning and you've got four chords immediately- open, barre five, barre seven, and your higher octave, like half fingering on the 12th. Then you've got to find where your minors are and where the interesting colors are - that's the exciting part. > > "Sometimes I'll tune to some piece of music and find [an open tuning] that way, sometimes I just find one going from one to another, and sometimes I'll tune to the environment. Like 'The Magdalene Laundries' [from Turbulent Indigo; the tuning is B F# B E A E]: I tuned to the day in a certain place, taking the pitch of birdsongs and the general frequency sitting on a rock in that landscape." > > You can find the article here: > http://jonimitchell.com/library/view.cfm?id=38&from=search > > or I would suggest buying the back issue: > > http://tinyurl.com/cjgfzd4 > > > Susan Tierney McNamara > email: sem8@cornell.edu > > > -----Original Message----- > From: owner-joni@smoe.org [mailto:owner-joni@smoe.org] On Behalf Of Shari Eaton > Sent: Monday, July 09, 2012 3:18 PM > To: JONIMITCHELL DISCUSSION LIST > Subject: Great Joni Interviews > > Please don't let Bob's link to John Manville's insulation and roofing website be the end of the Great Joni Interviews discussion. ;) > > I love reading Joni or listening to her talk just as much as I enjoy hearing her music. Her opinions and insights give my mind and soul sustenance for days. Even if they're the most popular, please send your favorites through. > Some of us may have missed one or two or would simply benefit from a reminder that they occurred and are recorded somewhere online. > > Lots of Joni, > Shari > > > > On Jul 9, 2012, at 9:55 AM, Bob.Muller@Fluor.com wrote: > >> Mary, >> >> Go to the "Library" section of JM.com and search for Interview >> Magazine as the periodical. >> >> Les has made the website easy to find stuff. There are actually (3) >> articles from that magazine there. >> >> Bob >> >> NP: John Mellencamp, "Serious Business" >> ------------------------------------------------------------ >> The information transmitted is intended only for the person or entity >> to which it is addressed and may contain proprietary, >> business-confidential and/or privileged material. >> If you are not the intended recipient of this message you are hereby >> notified that any use, review, retransmission, dissemination, >> distribution, reproduction or any action taken in reliance upon this >> message is prohibited. If you received this in error, please contact >> the sender and delete the material from any computer. >> >> Any views expressed in this message are those of the individual sender >> and may not necessarily reflect the views of the company. >> ------------------------------------------------------------ ------------------------------ End of onlyJMDL Digest V2012 #222 ********************************* ------- Post messages to the list by clicking here:mailto:joni@smoe.org Unsubscribe by clicking here: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe