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Joni Mitchell Meets Mingus 10 THE LANSING STAR, JUL Y 19 - 25, 1979 'AMERICAN JOURNAL Joni Mitchell meets Mingus By DAVID ARMSTRONG supple and expressive, her specially writ­ It was a surprise, looking up on stage and seeing the familiar ten lyrics evoking the big city energy that angular face, watching the wide mouth open and hearing jazz- inspired the older men: "We came up scatting come out. But it was indisputably Joni Mitchell up there from the subway/On the music midnight and it was jazz she was singing. makes/To Charlie's bass and tester's Mitchell first performed the new songs she had written with saxophone/In taxi horns and brakes." Charles Mingus about a year ago, at a big, open-air concert in Mitchell expands the song into a Berkeley to benefit Bread and Roses, a charitable group. It was ' tribute to both Young, the original sub­ night time and the fog-swirled above the theatre, floodlights ject, and Mingus, the original composer, catching the vapors near the stage where Mitchell sang and making it her own without doing violence Herbie Hancock played piano. to the generous spirit of the original As Mitchell went into a dreamy, forties-style lyric about Man­ work. It's a moving performance she can hattan, a prop-driven plane droned through the fog. It was such a be proud of. perfect touch, I suspected the promoters of hiring the plane. I looked around, half-expecting to see the casually dressed audience There are other bright moments on transformed, the men in evening dress, the women with gardenias Mingus — Mitchell's hilarious lyrics to in their hair. "The Dry Cleaner from Des Moines," her Joni Mitchetl's newest album, Mingus (Asylum 5R-505), is a chilling rendition of "The Wolf that Lives collection of songs written with the late jazz bassist and composer in Lindsey." Her lyrics are vivid and un­ and inspired by him, Mingus died in Mexico early this year at 56, characteristically unsentimental, most of before the collaboration he initiated could be completed; but the the time. Her singing is fluid, with an six songs, snippets of taped interviews with Mingus, and the bold, occasional affecting break in her voice colorful paintings that wrap this package are evidence that the reminiscent of Billie Holliday. An all- unorthodix pairing worked. star band of jazz-fusion playerd, including Mingus is the first Joni Mitchell album I've liked since the first Hancock and Weather Report's Wayner one, back in 1968, that introduced her own versions of the songs Shorter and Jaco Pastorius, provides add­ already made popular by Judy Collins and other performers. As ed texture and nuance. the lank-haired archetype for art students everywhere, the rock Mitchell plans to tour the country late groupie whose relentlessly autobiographical songs told more than Charles Mingus this summer with some of these same I ever wanted to know about life and love her Annie Hall - occasionally self-con­ In perhaps the album's finest moment, musicians, giving fans who cherish her among the cocaine and Jack Daniels set scious, but otherwise warm and intelli­ Mitchell takes "Goodbye Pork Pie Hat," folk and rock hits a chance to hear her and, finally the jaded international artista, gent, with a wit and elasticity all the one of Mingus' best-known compositions, speak in the rich vocabulary of jazz. It's Mitchell's subsequent ventures onto vinyl more affecting for being unexpected. and turns it into a commentary on the an adventuresome move, and I hope it made me cringe. She was, I thought, a fe­ In Mingus, Mitchell has done a very life and times of Mingus, the late saxo­ succeeds. Joni Mitchell could easily go on male Woody Alien not in her perform­ difficult thing. She's taken the differ­ phonist Lester Young (for whom Mingus playing "Both Sides Now" and "Wood- ing style or appearance, but in her calcu­ ences in age, race, gender, nationality and wrote the music) and herself. She does stock" for the rest of her life, never chang­ lating solipsism and her knack for making class (Mitchell, as her songs on earlier al­ this by contrasting the racism that drove ing a note, and be hugely popular. surface descriptions sound profound. bums remind us, is rich; Mingus never Young and Mingus underground as young Instead, she's chosen to grow. For en­ So when I heard Mitchelh was working was) between Mingus and herself and black musicians and the heady openness couraging that decision, she, and we, can with Mingus on an album, I expected it to used them in counterpoint, to establish with which she and Mingus embrace in a thank an extraordinary musician.who left be her Interiors — bleak, ponderous and herself as both a unique observer and racing New York night. us a vibrant musical legacy. His name, of ultimately flat-footed. But it's not, it's participant in his life. And she does it in jazz time, her voice course, is Mingus. ; LOWELL GEORGE Shakespeare can be fun It's a curious world when .the death of By ANDREWGRIFFIN &TIM DURKIN But she was wrong. We understood have been proposals to turn the Summer Elizabeth Taylor's ex-husband can make r Where did these people think they everything and it was all worth under­ Circle into a Shakespeare Festival. This the front page while no one bothers to were? Pine Knob? Lawn chairs, picnic standing. To repeat the obvious, Shake­ production proves it could be done.___ mention Lowell George's death at all. jugs and a standing-room-only crowd has speare certainly has a way with words. George died Friday, June 29, of a been the rule thus far at the MSU Theatre Just thinking about the lovely language The previous week's production of Ah, heart attack at the age of 34 just before launching Department's Summer Circle Free and biting wit wrapped around a fool­ Wilderness! provided answer to the above- a promotional tour for his first Festival. proof plot makes me wish I had seen all mentioned proposal. It was every bit as solo album, Thanks, I'll Eat It Here. Crowds like that for Shakespeare's The four performances instead of just one. good as the Shakespeare production. George will be remembered as a key Two Gentlemen of Verona! The popular­ How can anyone go wrong with two pairs The three principals, Jon Baisch, Jon member of the band Little Feat. Little ity of Ah, Wilderness! could be explained of foolish lovers, sword fights, fopish ri­ t_ee and Phyllis Baisch were a joy to Feat put out a string of critically ac­ by a first-rate cast in a play ideally suited vals and a trio of servants far brighter watch. Lee perfectly captured the contra­ claimed albums in the '70's which were known for their for it and its audience on a magical sum­ than their masters? dictions and snottiness inherent in being wry commentary on American life and their rich musical style mer night. But The Two Gentlemen? Best performances in a high-quality sixteen and exceptionally intelligent. The which changed greatly from one It would seem that no one in the over­ cast were Kerry Shanklin's as a young Baisches were ail-American parents any­ album to flow crowds had heard that American ac­ damsel permanently devoted to a love- v one could identify with or want for his another. The group disbanded tors, particularly young ones, are not sup­ .struck cad and Jon Lee's quick little ser­ very own. last year after their most successful album, posed to be able to do Shakespeare pro­ vant with little tolerance for the love- Kerry Shanklin and Sue CHekaway did Waiting for Columbus. perly. Or that the bard of Avon was a struck fools around him. not shine as they did in The Two Gentle­ George should also be remembered for tediously windy bore. Ultimate credit must go to director men, but they only appeared in the two the artists he befriended and worked with. At least one member of the audience Jon Baisch for a superb production, and weakest scenes (O'Neil's fault). John Han- The list includes Valerie Carter, Linda had. One woman turned to her daughter a flawless cast. There wasn't one weak ners' Uncle Sid stole the July 4th dinner Ronstadt, James Taylor, Bonnie Raitt and said, "We can sit way back, darling, performance in the lot. scene. The rest of the cast was perfect, and Jackson Browne who dedicated The you won't understand the words anyway." Yes, Shakespeare can be fun. There as was the rest of the production. Pretender to him. _________ *********** instant Ca$h i THE LANSING I the §omebody WE PAY $1 to $2 : STAR : for your good condition record albums. Closet ROCK CLASSICAL RP& JAZZ COMEDY Clothes ; ECONOMY ; SOUL SHOWS with STTC Experience We also sell them! ALTERATIONS i GUIDE I We Buy and Sell » QUALITY USED LP'S Men, Women and Children * Gently Used, Current ******************* ALL GUARANTEED REPAIR AND REPLACE ZIPPERS and Vintage Clothing Thousands to choose from Tuesday - Friday 75 cents and up! ,for Men and Women. Featuring used goods, 10 rrr, - 5 pm (Thurs. 'til 6 by appointment) repair services,. Open: Mon - Sat Monday & Saturday & non-profit enterprises. 12- 6 by appointment Take-Ins: ADVERTISING AVAILABLE University Mall By Appointment AT A SPECIAL RATE 220 MAC Avenue Call FOR ORGANIZATIONS East Lansing 332-1926 THAT QUALIFY. 223 Abbott, East Lansing 337-71 33 or 339-9763 This space could be for you! next to the State Theatre MARY HOAR 541 E.
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