JOHN CAMERON'S MUSICOLOGY EPISODE X: Joni Mitchell (77 - 79) Don Juan's Reckless Daughter Paprika Plains Mingus A Chair in the Sky Goodbye Pork Pie Hat Edith and the Kingpin The Wolf That Lives in Lindsey The Dry Cleaner from Des Moines Sweet Sucker Dance God Must Be a Boogie Man For anyone that can claim to know anything about music, Joni Mitchell is one the greatest artists of all time. In 1977, she had 8 albums to her name, each more remarkable and innovative as the last. Somehow undertaking a smooth transition from folk to jazz, her powers of adaption seemed unfettered, with little-to-no indication on what she would progress to next. Jazz legend Charles Mingus was dying, diagnosed with ALS (Lou Gehrings Disease). But in a true artistÕs mentality, he became attached to the notion of a final project. He and his wife Sue began to deliberate on how best to execute such an opusculum, with considerations to CharleÕs limitations brought upon by his illness. Joni Mitchell had released just a couple of albums that had veered into, by that point, the very broad Jazz genre. A successful as her pursuits would later be regarded, she received a lot of criticism for doing so at the time. Her work labeled as ÒpretentiousÓ back then, regarded as ÒgeniusÓ now. The stars were perfectly aligned a partnership of sorts between Mingus and Mitchell. Time was short. Expectations were high. The result was, for many, unsettled. Even now, forty years later - a masterpiece for both catalogues, that still divides. Paprika Plains Joni MitchellÕs 1977 album, ÒDon JaunÕs Reckless DaughterÓ is an experiment with no predicted or forceable outcome. Musically, itÕs intimidating. If you can process the lyrics, itÕs confronting. But itÕs also profoundly alluring. Arguably the opus of the album and perhaps her carer, ÒPaprika PlainsÓ is Mitchell narrating a meeting of Indigenous Canadians in a bar, describing afflictions of homelessness and alcoholism, but never once swaying away from the beauty of the people and the Canadian environment. In addition to all of the technical and compositional trickery, if you read the lyrics in the liner notes of ÒDon JaunÕs Reckless DaughterÓ, where Joni stops singing, the words continue during the instrumental section. Ultimately, ÒPaprika PlansÓ would be more than Joni once again proving her genius. Jazz legend, Charles Mingus would hear the piece, enchanted by its improvised piano playing and would make contact. That was mostly the extent of his knowledge of her work. And likewise, with Mitchell to Mingus. She was more of a Miles Davis fan. Interim Charles and his wife Sue felt that Joni, with her inimitable lyricisms, proclivity to explore new music and aspersions from the music press and jazz snobs, would be an appropriate fit for that final project. Although Mingus would initially have a vision for the collaboration that was not suited to JoniÕs style. Charles would dispense of that idea. Instead, his instrumentals would provide guidance for Mitchell to do what she does best Ð lyrics. WhatÕs often not appreciated about the project, even with acknowledgements of its eccentric nature, is that Joni was frequently writing and singing to instrumental solos. A difficult task for both a writer and a singer. Another point of contention between the two is that Joni embraced Jazz fusions of both acoustic and electric instruments. Charles, played an upright bass until he couldnÕt. This conflict of styles, from the perspective of someone trying to write a person's epitaph, to the subject of that epitaph, would result in multiple versions of each song being recorded, as the discovery for the ultimate balance or resignation was found. A Chair in the Sky The piece that Mingus wrote that most appealed to Joni the most was ÒJoni OneÓ. She asks Charles, whatÕs this one about? He says itÕs all the things that heÕs going to miss and the things he should have done. He didnÕt tell her what exactly though. This was JoniÕs first challenge; to fill in the blanks. Charles gifts Joni with a copy of his autobiography, ÒBeneath The UnderdogÓ. ItÕs very much psychoanalytical assessment of oneself, that only certain people would find appealing. In it, thereÕs a story of Mingus and his wife, Sue before their relationship truly bloomed. She asks how you would approach life if he could do it all over again. His response was selfish, claiming that he wouldnÕt fall in love, he would be ruthless to others and focus only on his money. Mingus then writes, Òand if she believed that, she would never have become my wifeÓ. Joni incorporated the attitude of that story into the lyrics, while maintaining the sensitivity of the songÕs nature. Charles IS dying. Mingus IS looking back. She submitted a tape to him the moment it was done. He loved it. However, Joni wasnÕt happy with the vocal performance and decided to polish up the track, making it more congruous with what would become the rest of the album. For a short time, ÒA Chair In The SkyÓ would be the projectÕs title. Protested by MingusÕ wife Sue, for the perceived physical representation of Charles in his final days. She wanted him to be remembered as a lively genius, rather than lacking physical or mental mobility. Edith and the Kingpin For reasons unknown, an early configuration of the Mingus album would open with a rerecording of ÒEdith and the KingpinÓ, previously featured on JoniÕs ÒThe Hissing of Summer LawnÓ album four years earlier. Arguably, that album was the first really display of Jazz tendencies in the Joni Mitchell catalogue. In terms of this production itÕs an excellent example of how the rest of the album would be produced. Perhaps this was just slotted into the early configuration as a placeholder, but itÕs still a remarkable performance. ItÕs not superior or inferior to the original, itÕs just a different experience and an exciting one for any fan to discover. Copies of these more experimental sessions would begin to circulate in the 90s, sourced from a degraded cassette tape, but the internet would bring them to light in more recent times. There is a lot of material relating to these sessions that have never surfaced, despite a significant amount of hype spoken over the years. An unexpected gem like this is just a brief insight into some unreleased magic, just as spectacular as what was heard on the final product. Goodbye Pork Pie Hat ÒGoodbye Pork Pie HatÓ is a jazz standard composed by Mingus in 1959 as an elegy for the recently deceased saxophonist Lester Young. Listening to Charlies recollections of Young, is a narrative of observed change, from and for the perspective of the two black men. The first verse is the sad admission of history that no matter how talented or popular a black artist might be, they still risked rejection or persecution of their art, not for it. As the lyrics were penned by Joni, integrating her own experience of the time was essential to completing the double-tribute. Again, itÕs important to note that JoniÕs writing and vocal are accommodating to the base material of what around it, not the other way Ôround. The instrumental and vocal are towing the line of a conversation that only few musicians can make intelligible. The Dry Cleaner from Des Moines ÒThe Dry Cleaner from Des MoinesÓ touches on a similar mentality that anyone facing death might resign themselves to.... ÒWell, maybe IÕll get lucky... Look at that sign... Look at that guyÓ. All this, while knowing the odds are against you. ItÕs a light hearted song, until you start apply a more psychoanalyzed meaning to it, particularly the circumstance of its writer. Some people have all the luck. With that said, when Charles played Joni the instrumental, he said that it would be about gambling. Mingus declared himself an expert slots player, proclaiming frequent wins. Remember, Joni wasnÕt just writing her own lyrics of even MingusÕ epitaph, she was taking facets of his personality and turning them into diamonds. The alternate mix seems to have more horns peppered throughout, in a much more reverberated presentation. There are also a few synth stabs, accompanied by a completely different vocal performance from Joni. Other than a few additions or changes to the multitrack, the song appears to have always been structured the same, a very clear, consistant vision for its final product. Sweet Sucker Dance While most songs on the album would lyrically have some level of association with Charles, ÒSweet Sucker DanceÓ seems to deviate from the central theme. If anything, it would have been more appropriate on ÒDon JaunÕs Reckless DaughterÓ than on ÒMingusÓ. That however, didnÕt seem to be an issue for the man himself. The first section seems to be an internal monologue of one assessing their own depressive state and the potential effect such mentality could have on their partner. Now the narrator is posing criticisms of love. Revoking it to something undertaken by ÒfoolsÓ and perhaps trivializing it to only Òa danceÓ. Something fleeting. Something in the moment. But by using Òa danceÓ as a metaphor, it acknowledges the symbiotic nature of these feelings. Joni continues the movement metaphor, now assigning characteristics. ÒNeedy and nonchalantÓ - oneÕs exterior different from their interior. ÒGreedy and graciousÓ - a successful, but appreciated outcome of one's own yearning. As would be repeated to close out the song, this section contains generalizations of a diversity of circumstances. Whatever can be assigned to an individual, by the end, most of us get through it. WeÕre all survivors. In this part, weÕre given further insight into the relationship. For whatever reason, the narratorÕs partner is away, leaving them to dance by themselves. ÒTonightÕs a dance of insecurityÓ is seemingly a description of the necessity of having that counterpart around to undergo the activity with conviction. The internal monologue continues, this time questioning the integrity of the personÕs feelings of love. WhatÕs brought their thoughts to this is hard to decipher, especially as it leads into the next part... In this section, itÕs almost as if sheÕs fighting against her earlier doubts, highlighting her manÕs character. This time, it doesnÕt come across as though love is merely a dance, but the one she loves makes that dance so easy. The Wolf That Lives in Lindsey While most songs on the album would be based on compositions by Charles Mingus, towards the end of production as his health was further declining, Joni would need to contribute more of her own. These convenient circumstances gave rise to ÒThe Wolf That Lives In LindseyÓ. The sounds of howling and saturated reverb on the guitar gives the mix a more tense personality. Perhaps further accentuated by the fact that Joni and percussionist Don Elias recorded the track live. Overdubs of keys and the ever-important wolf sounds would be added to the track at a later point. The described character, Lindsey is used as a portrait of the darkness that resides in a manÕs mind, represented by that of a wolf. As we learn more about Lindsey, whatÕs painted is a caricature of someone engaged with morally questionable activities, perhaps stemming from a less-than-perfect upbringing. A victim of lacking role models Ð a common cause for darkness. Corruption. Cronyism. Criminality. Perhaps temporarily auspicious, but ultimately, the human employed becomes less human. TheyÕre more removed from what should be considered important in life. Including themselves. ÒThe Wolf That Lives In LindseyÓ is also out of place on the album. ItÕs perfectly suited to the lyrics of ÒHejiraÓ or the experimental instrumentation of ÒDon JaunÕs Reckless DaughterÓ - which is around the time it was first conceived. But it clearly had its essential approval from Mingus Ð and why wouldnÕt it? The song isnÕt her most famous or even her best, but it is everything that makes Joni Mitchell great. God Must Be a Boogie Man Joni Mitchel would write in the albumÕs liner notes, ÒCharles Mingus, a musical mystic, died in Mexico, January 5, 1979 at the age of 56. He was cremated the next day. That same day 56 sperm whales beached themselves on the Mexican coastline and were removed by fire. These are the coincidences that thrill my imaginationÓ. The last song recorded for the project, was ÒGod Must Be A Boogie ManÓ. The only track that Charles never got to hear. Like ÒChair In The SkyÓ, it was based on the opening pages of MingusÕ autobiography. And seems to be the perfect surmise of JoniÕs relationship with Charles. The song was attempted with three different bands. One night when Mitchell was mixing one of those versions, revolutionary bassist and significant Joni collaborator Jaco Pastorious wanted to play on it. Creating a more stripped-back mix. That is the version that opens the album. An epitaph that, even for Joni was imperfect, but was enough to capture the spiritual and humored nature of the legendary Charles Mingus. ItÕs almost hard to think of ÒMingusÓ as a Charles Mingus album. Joni Mitchell had never been produced before and in a sense, she still hadnÕt with that project. Ultimately, she had her choice with the band that was featured on the final product, having tried several versions with several bands chosen by Charles himself. The ethics behind that decision are... questionable. But the final product is a best-intentioned collaborative opusculum that will forever hold significance in the catalogues of two great artists. Paprika Plains It fell from midnight skies It drummed on the galvanized In the washroom women tracked the rain Up to the make-up mirror Liquid soap and grass And Jungle Gardenia crash On Pine-Sol and beer It's stifling in here I've got to get some air I'm going outside to get some air Back in my hometown They would have cleared the floor Just to watch the rain come down They're such sky oriented people Geared to changing weather I'm floating off in time I'm floating off I'm floating off in time When I was three feet tall And wide eyed open to it all With their tasseled teams they came To McGee's General Store All in their beaded leathers I would tie on colored feathers And I'd beat the drum like war I would beat the drum like war I'd beat the drum I'd beat the drum like war But when the church got through They traded their beads for bottles Smashed on Railway Avenue And they cut off their braids And lost some link with nature I'm floating into dreams I'm floating off I'm floating into my dreams I dream paprika plains Vast and bleak and God forsaken Paprika plains And a turquoise river snaking (Where crows gaze vigilant on wires Where cattle graze the grasses Far from the digits of business hours The moon clock wanes and waxes But here all time is stripped away Nowhere on these plains Is a sprout or an egg in evidence To measure loss or gain Only a little Indian band Come down from some windy mesa No women to make them food and child No expressions on their faces I'm low in a helicopter And the wind from whirling blades Flaps their woven blankets And flags their raven braids How came they to this emptiness? How came they to this dream? How came I to this view From a flying machine Of earth and air and water And a band of Indian men Without herds or flocks or crops Or families or fires to tend? Like a phoenix up from ashes now A blanket figure springs With a fist raised up to turquoise skies Like liberty And at the point of vanishing Where the sky and the earth meet A bomb blooms Deadly mushroom White Gold Heat Like a phoenix up from ashes Up from violent mysteries And growing 'till the giant blast Is to it like a golfer's tee there comes a child's beach ball And memory takes me back to the beach to toss it up to the garage to get it patched A pink and yellow beach ball Rolling Grand Detached Turning the blues and greens of earth From space probe photographs I float out of the hovercraft Naked as infancy And weightless And drifting Horizontally Like a filing to a magnet Like the long descent of rain I am drawn I fall against the ball And lose paprika plains I suckle at my mother's breast I embrace my mother earth I remember perforated blinds Over the crib of my birth And just as Eve succumbed To reckless curiosity I take my sharpest fingernail And slash the globe to see Below me Vast Paprika plains And the snake the river traces And a little band of Indian men With no expressions on their faces) The rain retreats Like troops to fall on other fields and streets Meanwhile they're sweet talking and name calling And brawling on the fringes of the floor I spot you through the smoke With your eyes on fire From J&B and coke As I'm coming through the door I'm coming back I'm coming back for more! The band plugs in again You see that mirrored ball begin to sputter lights And spin Dizzy on the dancers Geared to changing rhythms No matter what you do I'm floating back I'm floating back to you!