Joni Mitchell: the 100 most inspiring musicians of all time
Canadian experimental singer-songwriter Joni Mitchell (b. Nov. 7, 1943, Fort McLeod, Alta., Can., born Roberta Joan Anderson) enjoyed her greatest popularity in the 1970s. Like her contemporary of the 1960s,
Bob Dylan, she helped turn pop music into an art form.
Joni Mitchell studied commercial art in her native Alberta before moving to Toronto in 1964 and performing at local folk clubs and coffeehouses. After a brief marriage to folksinger Chuck Mitchell, she relocated to New York City, where in 1967 she made her eponymous debut album (also
known as Songs to a Seagull).
This concept album was acclaimed for the maturity of its lyrics. With each successive release, Mitchell gained a larger following, from Clouds (which in 1969 won a Grammy Award for best folk performance) to the mischievous euphoria of Ladies of the Canyon (1970) to Blue (1971), which was her first million-selling album.
By the early 1970s Mitchell had branched out from her acoustic base to experiment with rock and jazz, with The Hissing of Summer Lawns (1975) marking her transition to a more complex, layered sound. Whereas earlier albums were more confessional in their subject matter, The Hissing of Summer Lawns, on which she satirized the role of the 1970s housewife, showed Mitchell’s movement toward social observation.
Although she had a number of pop hits, especially in 1970 with “Big Yellow Taxi” and “Woodstock,” Mitchell’s impact was as a long-term “album artist.” With its carefully precise yet improvisational feel, her music is at times difficult to listen to. She does not opt for straight melody or satisfying conclusions. “My music is not designed to grab instantly.
It’s designed to wear for a lifetime, to hold up like a fine cloth,” she once said. With Hejira (1976) and Don Juan’s Reckless Daughter (1977), she continued to disregard commercial considerations, while Mingus (1979) was considered by many as beyond the pale. An album that began as a collaboration with the jazz bassist Charles Mingus ended up as a treatment
of his themes after his death. Mitchell delved not only deeper into jazz, but also into black history; the album was as much a voice for the dispossessed as it was a biography of Mingus.
Having proved that she could make commercially successful albums and win critical acclaim, Mitchell became a prestige artist. Moreover, because her songs had become hits for others, she was a source of considerable
publishing revenue for her record companies. As a result, they went along with her musical experiments. After Mingus, however, Mitchell stood back a little from the pop world. From the beginning of her career she had illustrated her own album covers, so it was not surprising that in the
1980s, she began to develop her visual art, undecided about whether to concentrate more on painting or music.
Although not as prolific as in the 1960s and ’70s, Mitchell continued to create penetrating, imaginative music, from Dog Eat Dog (1985) to the more reflective Night Ride Home (1991) and the Grammy Award-winning
Turbulent Indigo (1994). Having dealt with international political and social issues such as Ethiopian famine on Dog Eat Dog, she returned, by the early 1990s, to more personal subject matter—singing about true love, for instance, on Turbulent Indigo. One of the first women in modern rock
to achieve enviable longevity and critical recognition, Mitchell has been a major inspiration to everyone from Dylan and Prince to a later generation of female artists such as Suzanne Vega and Alanis Morissette.
Although she regularly collaborated with producers and arrangers,—
Mitchell always had control over her material. Her songs have been covered by a range of stars, including Dylan, Fairport Convention, Judy Collins, Johnny Cash, and Crosby, Stills and Nash. Though unworried about pop chart trends, in 1997 she enjoyed major success with a new,
young audience when Janet Jackson sampled from Mitchell’s Big Yellow Taxi for the massive hit Got ’Til It’s Gone. In 1997, she published a new collection of her work, entitled Joni Mitchell: The Complete Poems and Lyrics. That year, she was also inducted into the Rock and Roll Hall
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Joni Mitchell Greatest Hits Full Album – The Best of Joni Mitchell
- Libertango (Piano Solo) – Astor Piazzola
- Milonga del Angel by Astor Piazzolla (arr. piano solo)
- Nocturne – by Secret Garden (piano solo)
- Oblivion (A. Piazzolla) Two pianos – pianists Argerich and Hubert
- Out of Africa – music by John Barry (piano solo)
- The Creative Development of Johann Sebastian Bach (1695-1717) Vol. I and II