Joni Mitchell - Joni Mitchell at Newport (Live)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 61:31
Size: 142,2 MB
Art: Front

(2:41) 1. Introduction By Brandi Carlile
(2:40) 2. Big Yellow Taxi (Feat. Lucius)
(4:51) 3. A Case Of You (Feat. Marcus Mumford
(7:59) 4. Amelia (Feat. Taylor Goldsmith)
(5:40) 5. Both Sides Now
(3:31) 6. Just Like This Train
(5:52) 7. Summertime
(3:37) 8. Carey (Feat. Brandi Carlile)
(5:20) 9. Help Me (Feat. Celisse)
(7:34) 10. Come In From The Cold
(5:44) 11. Shine (Feat. Brandi Carlile)
(5:55) 12. The Circle Game

Joni Mitchell stunned the Newport Folk Festival audience last summer when she gave a surprise performance her first in 20 years delivering a heartfelt set filled with some of her greatest songs. Mitchell's triumphant return to the stage on July 24, 2022, will be featured on a new live album from Rhino, AT NEWPORT, available on July 28, 2023 on CD and 2-LP black vinyl. Produced by close collaborator Brandi Carlile, along with Mitchell, the music will also be released the same day on digital and streaming services and Dolby Atmos. https://www.amazon.ca/Joni-Mitchell-At-Newport/dp/B0C3MSW2VK

Joni Mitchell at Newport (Live)

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Maria Pia De Vito, Danilo Rea, Joni Mitchell, Aldo Romano, Enzo Pietropaoli - So Right

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 66:35
Size: 153,1 MB
Art: Front

(5:29)  1. Amelia
(5:08)  2. Big Yellow Taxi
(5:11)  3. Little Blue Birds
(5:22)  4. So Right
(5:16)  5. God Must Be A Boogie Man
(6:17)  6. River
(4:41)  7. Harlem In Havana
(3:05)  8. Since Your Love Died
(5:44)  9. Woodstock
(4:54) 10. Miskin
(8:19) 11. A Case Of You
(2:58) 12. The Sweetest Medicine
(4:05) 13. The One-eyed Man

Following her successful full house U.S. debut at the Blue Note, this release includes two additional astounding scat tracks (#2 & 13) by Maria Pia De Vito, and an elegantly re-styled booklet filled with photos by Alessandro D'Urso. "When De Vito cut loose with startling intervallic leaps, complex internal overtones and keening, swooping, racing runs, it was a rush. She blew wild and free across Mitchell's already counter-intuitive bar lines. But also on every song, before her solo flights, De Vito did full justice to Mitchell's lyrics. Working in a language other than her own, like an accomplished actress, she brought Mitchell's words to life with altered, personalized meanings." (Thomas Conrad)

So Right: lyrics, melodies, great musicians. An album of songs performed and partly written by four of the most prominent figures in international jazz. From the re-reading of songs by Joni Mitchell, new original songs are sought and written: an excellent union between the language of songwriting and the universal world of jazz, skilfully performed by great artists. An intense and elegant interpretation by one of the leading Italian jazz vocalists, the unequaled Maria Pia De Vito.  http://www.camjazz.com/releases/8024709779526-so-right-cd.html

So Right

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Herbie Hancock - Gershwin's World

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 67:39
Size: 155,2 MB
Art: Front

( 0:56)  1. Overture (Fascinating Rhythm)
( 4:48)  2. It Ain't Necessarily So
( 5:58)  3. The Man I Love
( 4:00)  4. Here Come De Honey Man
( 5:51)  5. St. Louis Blues
(11:05)  6. Lullaby
( 3:31)  7. Blueberry Rhyme
( 1:26)  8. It Ain't Necessarily So (Interlude)
( 4:45)  9. Cotton Tail
( 4:43) 10. Summertime
( 1:56) 11. My Man's Gone Now
( 4:44) 12. Prelude in C# Minor
( 9:13) 13. Concerto for Piano and Orchestra in G, 2nd Mvt
( 4:38) 14. Embraceable You

Gershwin's World is a tour de force for Herbie Hancock, transcending genre and label, and ranking among the finest recordings of his lengthy career. Released to coincide with the 100th anniversary of George Gershwin's birth, this disc features jazzman Hancock with a classy collection of special guests. The most surprising of Hancock's guest stars is Joni Mitchell, who delivers a gorgeously sensual vocal on "The Man I Love," then provides an airy, worldly take on "Summertime." On these two tracks, she shows she has come a long way from her folksinger beginnings to become a first-class jazz singer in her own right. Stevie Wonder's unmistakable harmonica complements Mitchell's singing on "Summertime" and shares lead instrument space with his own voice on the W.C. Handy classic "St. Louis Blues." Jazzman extraordinaire Wayne Shorter smokes a solo spot on Duke Ellington's "Cotton Tail" and carves out some space for his soprano saxophone in the midst of "Summertime." 

A number of the young lions of jazz are featured on various cuts, and Herbie's old pal Chick Corea joins the leader for a piano duet of James P. Johnson's "Blueberry Rhyme." Gershwin's wonderful, extended "Lullaby" finds Hancock teamed with the Orpheus Chamber Orchestra, as does an attractive arrangement of a "Concerto for Piano and Orchestra" by Maurice Ravel, whose jazz influence can be heard on the piece. In addition, one of the most beautiful tracks on the album places star soprano Kathleen Battle's voice at the forefront of Gershwin's own "Prelude in C# Minor." Yet with all the fine performances by his guests, Gershwin's World remains Hancock's show, and he plays magnificently throughout. From beautiful to funky, percussive to melodic, improvisational to tightly arranged, Hancock and cohorts take a wondrous journey through the music and world of Gershwin. ~ Jim Newsom  http://www.allmusic.com/album/gershwins-world-mw0000038316

Personnel: Herbie Hancock, Chick Corea: Piano; Madou Dembelle: Djembe; Massamba Diop: Talking Drum; Cryo Baptista, Bireyma Guiye, Cheik Mbaye: Percussion; Eddie Henderson: Trumpet; Kenny Garrett: Alto Saxophone; James Carter: Tenor and Soprano Saxophones, Wayne Shorter: Tenor Saxophone; Bakithi Kumalo: Bass and Guitar; Ira Coleman: Bass; Terri-Lynn Carrington: Drums, Marlon Graves: Guitar, Robert Sadin: Percussion Programming; Stevie Wonder: Harmonica and Vocals; Charles Curtis: Cello, The Orpheus Chamber Orchestra, Kathleen Battle: Vocals, Joni Mitchell: Vocals.

Gershwin's World

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Brian Blade Fellowship - Perceptual

Styles: Post Bop, Straight-Ahead Jazz  
Year: 2000
File: MP3@320K/s
Time: 53:56
Size: 124,2 MB
Art: Front

(6:28)  1. Perceptual
(7:56)  2. Evinrude-Fifty (Trembling)
(6:44)  3. Reconciliation
(9:10)  4. Crooked Creek
(2:40)  5. Patron Saint Of Girls
(1:06)  6. The Sunday Boys (Improvisation)
(9:09)  7. Variations Of A Bloodline: From The Same Blood / Fellowship (Like Brothers) / Mustangs (Class Of 1988)
(8:21)  8. Steadfast
(2:17)  9. Trembling

Far from your typical young jazz artist, drummer Brian Blade seems almost bent on avoiding classification. He's been found in the studio and/or on the road with such disparate employers as Joshua Redman, Bob Dylan, Seal, and Joni Mitchell. With technical prowess of obvious proportions, Blade is equally reticent about flashy drum displays, content to merely color and prod the composition at hand. All of this is as much apparent in his sideman stints as it is with his two Blue Note dates as a leader, Perceptual being the latest offering by his collective known as The Brian Blade Fellowship. A more varied and ultimately satisfying affair than the group's 1998 debut, Perceptual is still nonetheless a dark and brooding journey that has as its underlying theme society's current lack of humanity and value for young lives, keyboardist Jon Cowherd's "Reconciliation" being directly influenced by the shootings in Paducah, Kentucky. Much of what comprises this hour-long recital is of a restrained and pensive nature and those hoping for lengthy drum solos and the typical "burn-out" type of improvisations will have to look elsewhere. In fact, very little of the material here swings in the conventional sense, save for sections of "Steadfast" and the 5/4 lilt of "Crooked Creek." The one new addition to this group since the last record is that of guitarist Kurt Rosenwinkel and it's a curious one. I say this in consideration of the clear association between the spirit of this set and that of Rosenwinkel's own recent The Enemies of Energy. Stretching the comparisons even further, the Nordic strains of Jan Garbarek's musical personality (not to mention an overall chamber- like quality akin to the ECM mantra) are more than hinted at during the lengthy suite, "Variations of a Bloodline." All of this is not to suggest mere rote regurgitation on Blade's part, but to provide point of reference for the uninitiated.In the final analysis, Perceptual is a very likable and intoxicating brew that benefits from a collective sound that finds no one person in particular dominating the proceedings. The key will be for Blade, Rosenwinkel, and other purveyors of these latest musical developments to make sure they don't run aground much in the same way that the renaissance fostered by Marsalis and his ilk during the '80 led to many dead-end roads. ~ C.Andrew Hovan https://www.allaboutjazz.com/perceptual-brian-blade-blue-note-records-review-by-c-andrew-hovan.php

Personnel: Brian Blade- drums, guitar & vocals; Melvin Butler- tenor & soprano saxophone; Jon Cowherd- piano & keyboards; Dave Easley- pedal steel guitar; Kurt Rosenwinkel- electric & acoustic guitars; Christopher Thomas- bass; Myron Walden- alto sax & bass clarinet; Daniel Lanois- guitars (tracks 8 & 9 only); Joni Mitchell- vocal (track 8 only)

Perceptual

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Joni Mitchell - Both Sides Now

Bitrate: MP3@320K/s
Time: 51:23
Size: 117.6 MB
Styles: Jazz vocals
Year: 2000
Art: Front

[3:51] 1. You're My Thrill
[4:25] 2. At Last
[4:27] 3. Comes Love
[5:00] 4. You've Changed
[3:22] 5. Answer Me, My Love
[5:52] 6. A Case Of You
[4:09] 7. Don't Go To Strangers
[3:58] 8. Sometimes I'm Happy
[3:48] 9. Don't Worry 'bout Me
[3:06] 10. Stormy Weather
[3:34] 11. I Wish I Were In Love Again
[5:45] 12. Both Sides Now

Joni Mitchell has long dabbled in the jazz world, forging alliances with the likes of Charles Mingus, Jaco Pastorius, and Wayne Shorter, while incorporating elements of fusion into her more intrepid recordings. Both Sides Now, however, comes at jazz from a different angle than the experimental likes of Mingus and The Hissing of Summer Lawns. Here is Joni the chanteuse, tackling smoky standards such as "At Last," "Sometimes I'm Happy," and "Stormy Weather" in the embrace of lush pop arrangements that owe a debt to Nelson Riddle and Gordon Jenkins, though some stray over the line from stately into staid. The focus here is on Mitchell the vocalist, and she displays a real commitment to the music. She has the chops and the smarts to tackle these staples, but at times she seems intimidated by their illustrious pedigrees. Two of Mitchell's own songs are revived here--"A Case of You" and the title track. The results are mixed: the former takes on a new weight while the latter seems adolescent in such mature company. Ultimately, Both Sides Now is more a valentine to classic pop by a woman who can--and should--be off making more touchstones of her own. ~Steven Stolder

Both Sides Now

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Herbie Hancock - Then and Now - The Definitive Herbie Hanckock

Styles: Piano Jazz, Jazz Fusion
Year: 2008
File: MP3@320K/s
Time: 78:03
Size: 179,1 MB
Art: Front

(7:54)  1. Maiden Voyage
(5:27)  2. Cantaloupe Island
(5:50)  3. Wiggle Waggle-
(7:40)  4. Chameleon (Edit)
(5:52)  5. St. Louis Blues
(4:16)  6. Chan's Song (Never Said)
(5:26)  7. River
(4:52)  8. Don't Explain
(5:07)  9. All Apologies
(6:28) 10. Watermelon Man
(4:10) 11. Rockit (Live)
(5:39) 12. River (Live)
(9:15) 13. Maiden Voyage (Live)

The idea of collecting tracks off several of jazz legend Herbie Hancock's albums from the influential '60s Blue Note years through to his Grammy-winning 2007 album River is a nice idea that doesn't quite come together on Verve's Then and Now: The Definitive Herbie Hancock. Obviously designed to showcase the whole of Hancock's career post his 2007 Grammy win for River: The Joni Letters, Then and Now doesn't really give you the full picture. With only five tracks devoted to his '60s/'70s recordings (arguably his most essential and defining period), there's just not enough "then" here to really qualify this as a "definitive" collection. Not to mention that Then and Now basically ignores Hancock's '70s recordings, opting for merely an "edit" of "Chameleon" and the album version of "Watermelon Man," which comes out of chronological order near the end of the collection. Add in that you only get a live version of "Rockit" and you're left with less a definitive view of Hancock's career and more of a thumbnail sketch. ~ Matt Collar  http://www.allmusic.com/album/then-and-now-the-definitive-herbie-hancock-mw0000798281

Personnel: Herbie Hancock (piano, Fender Rhodes piano, Clavinet, ARP synthesizer); Stevie Wonder (vocals, harmonica); Damien Rice, Joni Mitchell, Lisa Hannigan (vocals); Eric Gale, Billy Butler , Lionel Loueke (guitar); John Scofield (electric sitar); Vyvienne Long (cello); Bennie Maupin (alto flute, bass clarinet, soprano saxophone, saxello, tenor saxophone); Joe Henderson (alto flute, tenor saxophone); Wayne Shorter (soprano saxophone, tenor saxophone); Bob Sheppard (soprano saxophone); George Coleman (tenor saxophone); Arthur Clarke (baritone saxophone); Eddie Henderson, Ernie Royal, Freddie Hubbard, Joe Newman, Johnny Coles (trumpet); Ray Alonge (French horn); Garnett Brown, Benny Powell (trombone); Paul Jackson (marimbula, bass instrument); Dave Holland, Jerry Jemmott, Marcus Miller, Ron Carter, Shane Fitzsimons, Alex Al (bass instrument); Harvey Mason, Terri Lyne Carrington, Tomo, Tony Williams, Vinnie Colaiuta, Bernard Purdie (drums); George Devens, Bill Summers (percussion);

Then and Now The Definitive Herbie Hanckock

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Joni Mitchell - Shadows And Light

Styles: Folk, Pop/Rock
Year: 2013
File: MP3@320K/s
Time: 84:27
Size: 193,7 MB
Art: Front

(1:55)  1. Introduction
(4:10)  2. In France They Kiss On Main Street
(4:10)  3. Edith And The Kingpin
(4:59)  4. Coyote
(6:06)  5. Goodbye Pork Pie Hat
(4:36)  6. The Dry Cleaner From Des Moines
(6:40)  7. Amelia
(3:05)  8. Pat's Solo
(7:53)  9. Hejira
(3:53) 10. Black Crow
(3:55) 11. Don's Solo
(4:50) 12. Dreamland
(3:22) 13. Free Man In Paris
(0:50) 14. Band Introduction
(5:25) 15. Furry Sings The Blues
(2:50) 16. Why Do Fools Fall In Love?
(5:25) 17. Shadows And Light
(5:03) 18. God Must Be A Boogie Man
(5:10) 19. Woodstock

Shadows and Light is Joni Mitchell's second live album, and it serves as a good retrospective of her jazzy period from 1975-1979. As expected, she assembles a group of all-star musicians including Pat Metheny (guitar), Jaco Pastorius (bass), Lyle Mays (keyboards), and Michael Brecker (saxophone) who give these compositions more energy than on the studio recordings. The musicians are given room to jam, and they sound terrific on uptempo songs such as "Coyote" and "In France They Kiss on Main Street." If there is a general theme of these songs, it's about growing older and maturing after the failed idealism of the late '60s (the album opens with audio clips from the movie Rebel Without a Cause). 

Although this album is pleasing, the live arrangements are not different enough from the studio versions to warrant higher marks. In fact, Mitchell has always been an album artist who recorded studio albums that had a sound and feel all their own. While Shadows and Light provides a nice summary of her experimental period for casual fans, interested listeners should start with Hejira or The Hissing of Summer Lawns. ~ Vik Iyengar  http://www.allmusic.com/album/shadows-and-light-mw0000200161

Personnel: Bass – Jaco Pastorius; Drums – Don Alias; Lead Guitar – Pat Metheny; Keyboards – Lyle Mays; Sax – Michael Brecker; Electric Guitar – Joni Mitchell; Vocals – The Persuasions

Shadows And Light

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Joni Mitchell - Miles Of Aisles

Styles: Folk, Pop/Rock
Year: 1974
File: MP3@320K/s
Time: 78:03
Size: 179,4 MB
Art: Front

(4:18)  1. You Turn Me On I'm A Radio
(3:12)  2. Big Yellow Taxi
(4:04)  3. Rainy Night House
(4:27)  4. Woodstock
(5:00)  5. Cactus Tree
(5:38)  6. Cold Blue Steel And Sweet Fire
(3:39)  7. Woman Of Heart And Mind
(4:42)  8. A Case Of You
(4:23)  9. Blue
(5:41) 10. Circle Game
(2:49) 11. Peoples' Parties
(3:31) 12. All I Want
(4:38) 13. Real Good For Free
(4:57) 14. Both Sides Now
(3:35) 15. Carey
(4:19) 16. The Last Time I Saw Richard
(3:38) 17. Jericho
(5:24) 18. Love Or Money

Like most live albums, this two-record set was a profit-taking release on which the artist re-presented many of her old songs for a new acceptance now that she had a larger pop audience. Backed by the pop-jazz ensemble the L.A. Express Mitchell reprised the best from her first five albums, pointedly ignoring Court and Spark, and including two new cuts, "Love or Money" and "Jericho." ~ William Ruhlmann  http://www.allmusic.com/album/miles-of-aisles-mw0000190928

Personnel: Joni Mitchell (vocals, guitar, dulcimer, piano); Robben Ford (electric guitar); Tom Scott (reeds, wind); Larry Nash (piano); Max Bennett (bass instrument); John Guerin (drums, percussion).

Miles Of Aisles

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Tom Scott & The L.A. Express - Tom Cat

Bitrate: 320K/s
Time: 41:46
Size: 95.6 MB
Styles: Saxophone jazz, Funk
Year: 1975/2001
Art: Front

[5:07] 1. Rock Island Rocket
[3:39] 2. Tom Cat
[4:15] 3. Day Way
[3:04] 4. Keep On Doin' It
[4:13] 5. Love Poem
[4:43] 6. Good Evening Mr. & Mrs. America & All The Ships
[4:03] 7. Backfence Cattin'
[8:29] 8. Mondo
[4:09] 9. Refried

Despite the absence of Joe Sample and Larry Carlton, Tom Scott's L.A. Express remains very Crusaders-influenced on Tom Cat -- a highly accessible jazz-funk-R&B date that, as commercial as it is, leaves room for inspired blowing courtesy of both the leader and sidemen like electric guitarist Robben Ford and keyboardist Larry Nash. Sweaty, hard-hitting jazz-funk is the rule on such down-home grooves as "Good Evening Mr. & Mrs. America & All the Ships" and "Day Way," which allow the players to let loose, blow, and say what needs to be said. "Love Poem" is a pleasant, likable piece of delicate mood music (but not "Muzak"!) that features wordless vocals by pop-folk singer Joni Mitchell and has a slightly Flora Purim-ish appeal. Unfortunately, a CD as good as Tom Cat serves as a reminder of how dreadfully unimaginative most of Scott's GRP albums are. ~ Alex Henderson

Tom Scott (saxophone, woodwinds, moog synthesizer, lyricon, percussion); Joni Mitchell (vocals); Larry Nash (electric piano, organ, ARP synthesizer); Robben Ford (acoustic & electric guitars); Max Bennett (bass); John Guerin (drums, percussion).

Tom Cat

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Joni Mitchell - Hits

Bitrate: 320K/s

Time: 65:54

Size: 150.9 MB

Styles: Folk, Folk-rock

Year: 1996

Art: Front

[5:04] 1. Urge For Going

[2:30] 2. Chelsea Morning

[7:41] 3. Big Yellow Taxi

[5:26] 4. Woodstock

[4:50] 5. The Circle Game

[3:02] 6. Carey

[3:49] 7. California

[2:38] 8. You Turn Me On I'm A Radio

[3:05] 9. Raised On Robbery

[3:21] 10. Help Me

[3:02] 11. Free Man In Paris

[4:02] 12. River

[5:16] 13. Chinese Cafe/Unchained Melody

[7:29] 14. Come In From The Cold

[4:32] 15. Both Sides Now

All tracks have been digitally remastered using HDCD technology. HITS and MISSES, released on the same day in October 1996, are, amazingly enough, the first compilations of Joni Mitchell's work. Mitchell is one of the most influential singer-songwriters of the rock era. By incorporating poetic lyricism and a jazzy harmonic sensibility into the troubadour tradition, she paved the way for everyone from Rickie Lee Jones to Sting. HITS features some of the best-known songs from her immense repertoire (MISSES highlights equally important, but less commercially successful, compositions). HITS begins and ends with early, acoustic guitar-based material. "Urge For Going" (previously unavailable on CD) and "Both Sides Now" both yielded reams of cover versions by the likes of Judy Collins, Tom Rush and countless others. Moving on through the stylistically divergent phases of Mitchell's career, the lush pop songs "Help Me" and "Free Man In Paris" segue into the starkly confessional piano ballad "River" and the slippery, jazzy feel of "Chinese Cafe/Unchained Melody," adorned by Larry Klein's Jaco-manque fretless bass. HITS can only skim the surface of Mitchell's prolific output; a truly thorough chronicle would require a box set. But every song here is a gem, and this is a perfect place for the uninitiated to begin.

Joni Mitchell (vocals, guitar, acoustic guitar, dulcimer, piano, electric piano, keyboards); Saskatunes, Lookout Mountain United Downstairs Choir (vocals); Larry Klein (guitar, percussion); Stephen Stills (guitar); James Taylor (acoustic guitar); José Feliciano, Larry Carlton, Robbie Robertson, Steve Lukather (electric guitar); Graham Nash (harmonica, background vocals); Tom Scott (woodwinds, horns); Joe Sample (electric piano); Larry Williams (synthesizer); John Guerin (drums, percussion); Jim Hughart, Russ Kunkel, Vinnie Colaiuta (drums); Alex Acuña & the Unknowns, Alex Acuña, Milt Holland, Bobbye Hall (percussion); David Crosby (background vocals).

Hits

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