A tribute from the Joni Mitchell songbook

by Jay Lustig
New Jersey Star-Ledger
February 3, 2006

NEW YORK -- It was a shame Joni Mitchell could not attend Wednesday's tribute to her music at Carnegie Hall, primarily because one suspects the legendary singer-songwriter would have loved it.

The show did not limit itself to her pop hits and signature ballads, as a lesser tribute would, but also reflected the experimental spirit and jazz leanings of much of her work from the mid-'70s on.

Judy Collins closed the show with a vibrant, traditional version of "Both Sides Now." But earlier in the evening, Laurie Anderson turned the same song inside out, adding new riffs and loops, and singing in an other-worldly whisper.

Richie Havens was sincere and meditative on "Woodstock," but Neil Sedaka, pounding his piano boogie-woogie style, made "Raised On Robbery" into a jolly pop song. Clarinetist Don Byron added some jazzy solos to Marc Cohn's version of "For Free."

Jimmy Scott, 80, turned in an aching, melodramatic version of "At Last" -- the standard that Mitchell covered on her 2000 "Both Sides Now" album -- and received a standing ovation for it. Bettye LaVette brought a soul-stirring gospel flavor to "Last Chance Lost."

Before a note was played, producer Michael Dorf delivered the bad news that Mitchell herself would not be there. (She was never scheduled to performed, but fans were hoping she would at least take a bow.) Dorf read a message from her, saying, among other things, that she was unable to travel away from her California home because her cat was seriously ill.

Artists took the stage in quick succession, performing one song apiece. The only one who performed two was veteran folkie Tom Rush, who sang both "The Circle Game" and "Urge For Going" in a warm, conversational, utterly unhurried way.

Few said anything about Mitchell or the music, letting the songs speak for themselves. Rush did, though, tell a memorable story about the demo cassette Mitchell sent him with "The Circle Game" (he recorded it before she did). She included an apologetic message on the cassette, saying she thought the song wasn't all that great.

In a different vein, Sedaka recalled introducing himself to Mitchell on a plane, only to be told she wasn't sure who he was.

Strikingly multicultural, the show featured Native American musician Joanne Shenandoah on "The Dawntreader," and Pharoah's Daughter, a group that draws on Middle Eastern folk sounds, on "God Must Be a Boogie Man." There were also tons of Mitchell-influenced singer-songwriters, including Shawn Colvin, who tackled the mysterious, Dylanesque "Turbulent Indigo," and Sonya Kitchell, who sounded remarkably like a young Mitchell on "Trouble Child."

The outspoken, wickedly funny Nellie McKay sounded uncharacteristically sweet and demure on "Chelsea Morning." But most of the musicians stayed true to their usual onstage personalities. Michelle Williams of Destiny's Child belted out "Help Me" over a pumped-up beat. Jesse Malin turned "Carey" into fast, scruffy roots-rock. Cowboy Junkies singer Margo Timmins smoldered on "River."

"Amelia," with lines like "I've spent my whole life in clouds at icy altitude," sounded like it was written for Suzanne Vega, who sang it at this show. "All I Want," performed by Eels, evoked Mitchell's playful side ("I want to wreck my stockings in some jukebox dive"), while "Rainy Night House," sung with great sensitivity by Dar Williams, captured the yearning, diary-like flavor of much of Mitchell's early work ("You sat up all the night and watched me, to see who in the world I might be").

The show was a benefit for Music For Youth, a New York-based organization that supports innovative music-education programs and grants scholarships. Some young musicians who have been helped by the organization participated in the show, backing Tom Rush on "The Circle Game."

At the end of the evening, it was announced that Music For Youth will present another tribute, to another musician, on Nov. 2. No more details were offered.