By Patrick Leader, Reporting for JoniMitchell.com

There is nothing quite in the world like sitting in the second row of a concert by one of your idols. Adopting the clear-eyed, communicative reviewer pose is extremely difficult when you are being reduced to mush, song after song.

The following are my complete notes:

where's my will
see your dentist
surely you've touched mine
glitter for them so

So, clearly what happened was that I spent most of the evening in a fog of overwhelming joy, but every once in a while a little grace note would break through. Joni would make a choice about how to sing a particular lyric that would be so inventive, so musically exciting and so expressive that I would at least grab the pen and try to write something. There many more such moments, but pen seemed inadequate.

Okay, I'll try to be a little more descriptive. The Oakdale was a decent venue; the actual theater very similar to MSG Theater in shape, with nice decor and great sightlines. The lobby had a bunch of Volvos on display, a Joni souvenir stand that didn't accept credit cards (!) and no programs ("Fedex didn't get there on time"...). The company this reviewer kept was sublime.

As in the other shows, Joni played the arc of selections that she and Klein had chosen for the Both Sides Now project. The sequence flowed better than ever and each song had its chills. Still, the swing songs were the ones that really got to me. As "Sometimes I'm Happy" began, I swear Joni smiled at me, so happy to see someone actually bopping to the music. Wait, I'm losing "descriptive", again...

The first set outfit was the one of the Issey Miyakes she wore in West Palm Beach (it was Pearl Weisberg's gorgeous photo 'bout halfway down that page that confirmed it). Sort of turquoise on the outside with the underside of the cape a juicier kelly green, with a sash in the same color. The cape, in this and in most of the outfits, is definitely her security blanket for these concerts. I have pictures in my head of Joni standing with eyes closed, having wrapped herself in her arms and cape, just waiting. She made a beautiful picture in those moments, as we listened to the gorgeous trails of one arrangement or another fade into silence.

Just one more thought to put here. A lot of has been said about the loss of Joni's upper range, but the gain of strength and subtlety in her lower voice is amazing. The way she sings (before the orchestra comes in) the first line of "Don't Worry 'Bout Me", on the album and especially in these performances, is just the sweetest foghorn.

For the second set, Joni had a new outfit, not seen yet on this tour, though obviously Miyake again. Yellow, pleated, kind of skirted, kind of pants. A square piece of pleated material in a darker color (brownish-rose?) acting as an assymetrical skirt in front. The colors in the outfit weren't completely flattering (the darker piece didn't even look like part of the outfit) but the shape was more pleasing, at least to my eye.

"Stormy Weather" is the first song I heard Joni do in a big band setting, but each performance I hear, she seems to dig deeper. "I Wish I Were in Love Again" once again truly swung. Peter Erskine on drums and Chuck Berghofer (standing bass) are taking the rhythm section far beyond the album's version, here. And this "Both Sides Now"...

And then into the unrecorded, the still fresh, the brand new, the Joni-doing-old-songs-like-you've-never-heard-them-before portion of the show. The arrangements for "Be Cool" and "Hejira" both have long instrumental intros with no percussion. When the jazz combo swings into gear, the listener is completely ready. These are amazing, stunningly successful arrangements. Each has an outro (rundgrenology), at the other end of the rhythmic track, that lets you easily and beautifully off of the ride.

The brasses and strings warbling a two-note trill as Wallace Roney brought "Be Cool" down from the sky were particularly gorgeous. And her vocals against these driving tracks (as well as on the encore, Marvin Gaye's "Trouble Man") were inspired and completely confident.

"For the Roses" is not a groove song like "Hejira" or "Be Cool", but on some levels Vince Mendoza has approached the arrangement the same way. Intro, song with rhythmic structure, outro. But, so different in the details... The first chord is purposefully dissonant. The string writing in the intro owes something to mid-twentieth century quartets, say, Shostakovich. Just get-your-attention-sour... taking its time to lead you into the quiet rhythm that lets Joni sing this lyric, which seems to matter so much to her, now and still.

speculation--well, who's to know
if the next one in the nest
will glitter for them so

the arbutus rustles, she departs and mendoza conducts a long, cataclysmic finale as an empty spotlight sweeps the stage.

REPORTS FROM THE INTERNET COMMUNITY

my two hour plus night ride home from connecticut was exhilarating. the very loud joni (blue, hejira, ttt) i played all the way back, though, was cause for the 2 excedrin pm's that are now kicking in, so, forgive me if i become incoherent.

i went into this show expecting no surprises, yet much delight, having read many reviews and knowing what was forthcoming. but surprised i was; she absolutely blew me away! i've seen joni several times before, never in a smaller theatre like the Oakdale, and she's always come through for me. but not like tonight. it was pure magic.

the first half i spent in the nosebleed seats, which were all i could afford. and from there i was totally moved by joni's live rendition of bsn. unfortunately, the audience at this altitude, though thoroughly considerate, lacked the entusiasm that i had expected. i don't know if that sounds haughty, but i was there to experience the wonder of joni and i at least wanted others to show their love as well. polite applause was all they could seem to muster.

ok, so thanks to simon, who i just met tonight, he alerted me to the fact that patrick from nyc was up front, so he suggested that i go up and say hello. which i did at intermission. patrick and his crew were absolutely crazed after sitting through the first act in the second row. can you blame them? i told them that joni surely surpassed any expectation that i had coming in. and even from up above, the show could be enjoyed.

but the house lights dimmed, and i said my goodbyes right before the second act. and i had the balls enough to sit my ass down in a vacant seat in the front row- stage right that i had my eye on earlier. no lie.

joni's second set rocked all the way, especially from this vantage point. i never thought hejira could sound that good. it beganwith a huge swirling bass line with orchestral accompaniment. and i just kept my eyes closed and let it take me away. i floated through the entire piece-traveling in the vehicle that is my mind, heart locked on every note joni sang. joni and i locked eyes once or twice during trouble man. i stood in ovation, like many up front for her last 5 non-bsn pieces, so maybe the love and appreciation was palpable for her. i think she really appreciates all the love we have for her.

nearing the end of the set, as she walked across the stage, i brazenly outstretched my hand to her, hoping to touch her and thank her. even though the guard tried to usher me back to my seat, joni came over and offered her hand. which i shook and to which i could only reply a humble and respectful thank you.

it moves me to tears to think about this evening, being a part of something so wonderful. it is simply amazing. joni can touch us in ways that not even a spouse or lover can. and for all this, for all the beauty she's created for so many to share, a thank you and applause just don't seem adequate enough. i do hope she knows how much her fans adore her. SEE THE SHOW!!!!!!!!!

...love is touching souls, and surely you touched mine...

bozjojo

Twenty-five years ago people flocked to see a young singer/songwriter named Joni Mitchell. They came to hear insightful and innovative lyrics intensely conveyed through an lilting, swooping, yodeling, crying voice sometimes accompanied by a plain dulcimer, sometimes by a piano, sometimes by a deliciously retuned guitar.

Bristling at the label of "folksinger", Joni mowed her way through the jungle of the 70s, 80s and 90s following no path but her own. She left in her wake many classic pop tunes and piles of beautiful music, all the while deflecting the many arrows of criticism regarding her personal musical evolvement. Along the way she lost the dulcimer, evidently chucked the piano, and replaced the many-tuned guitars with a computerized one.

These days, accomplished artists from all walks of music, from Madonna to Sting to Winona Judd, love to credit Joni as an influence. People come not to hear that long-gone innocent voice singing knowing lyrics but simply to be in the same room as such a musical genius. Apparently the "new voice" is wowing them also.

As a huge fan since about 1972, I was terribly excited to be heading to the SNET Oakdale Theater in Wallingford, CT with my second row tickets. I have caught Joni's live act only three times (she doesn't play these parts often!) and never without thousands of people between us.

11:40 p.m. Just back from the concert, recording my impressions before they leave me...WOW! As the orchestra opened with the beautiful overture, fog (or smoke) billowed from the side of the stage- one of my friends quipped that she thought the door to Joni's dressing room had just opened:)....Joni appeared to a standing ovation, wearing one of those outfits that keep getting mentioned on the website. We were so close we could actually see a lone string dangling from the back of it....I thoroughly enjoyed the first "act" and met Chili Head & Kenny at intermission (thanks for sharing your book. Email me at pcrowley@snet.net)... My favorite parts of the second half: definitely "Hejira". That was worth the price of the ticket itself. "For The Roses" was a great treat, although I missed (who didn't) Joni's guitar... "I Wish I Was in Love Again" was especially memorable because Joni confessed she "just couldn't memorize this one" and held the lyrics on a sheet of paper.... "Trouble Man" was a real high point to go out on and everyone enjoyed it greatly....

Next morning: WOW! Again. Fantastic show. Better than I ever expected, knowing Joni would not be playing the piano or guitar at all. The audience got a couple of standing ovations in during the show (after old songs) and it's a good thing, because she beat a hasty retreat after the last number. That's okay.....:)

Penny Crowley

Hey Kids!

Could NOT resist the opportunity to hear Ms. Mitchell one more time, so I headed up to Wallingford Connecticut to catch Saturday's show. Walked up to the ticket window and asked if they had any last minute seats and the woman smiled and sold me an incredible one down front and center. The Oakdale Theater is this enormous venue with state of the art facilities in the middle of what appears to be farm land. The sound was spectacular - huge when it needed to be, but always detailed, projecting every nuance of the arrangements and never overpowering Joni's vocals. When I complimented one of the guys at the mixing board after the show he beamed and said "Once in a lifetime music!"

The audience was 80% forty- and fifty- somethings. I never saw so many wide asses, pot bellies and grey hair in one place - I fit right in! Of course there were exceptions: Meryl Streep arrived with a bunch of teen- agers. What other young people there were, seemed to be with their parents too.

After the Debussy, Joni appeared to the first of many standing ovations. Off she went into You're My Thrill and the journey was begun. I've come to really love this collection of songs. They actually do work together to form a whole larger than the sum of its parts. Once it starts you anticipate and savor each element as it unfolds. Not much new to report about her performance except that she seemed even freer than in New York, more willing to improvise. The audience was with her right from the start, cheering her on, standing again after A Case of You, applauding the start of Don't Go to Strangers and Stormy Weather, and losing it after Both Sides Now. I am repeatedly amazed at how that song has been transformed by its new arrangement and the feeling that she invests in it.

For me Hejira was again the high point musically of the show. It's one of her greatest works and the new arrangement with propulsive bass, strings, and drums underscoring her vocal is phenomenal. She called it her song about "going AWOL - running away from everything" They got another standing ovation for it. One guy in the audience kept yelling out "Hey Larry!" It was nice seeing Klein get the recognition.

For the Roses was again stunning in its brilliance. The new arrangement and her vocal make a fitting climax to the evening. After she left the stage the audience held its applause while the orchestra played the apocalyptic conclusion and an empty spotlight searched the stage and ended up on the Joni-less microphone stand. A nice touch.

After a cigarette free Trouble Man (is she quitting?) she introduced the soloists and when she thanked the orchestra, she turned to the audience and said "They're your band" I guess meaning they were all local musicians. "They only had one day to learn all this!"

Then off she went. Lights up. A woman behind me was complaining about the lack of an encore but I have to say it's refreshing not to have to go through that ritual of dragging a performer back out again and again. Joni knows she's great. We know she's great. That was the show. Seemed just right to me.

Now I'm thinking Philadelphia isn't really that far from New York.....

YES! YES! YES!

Joni Mitchell Triumphs!

Don't let anyone tell you this woman can't sing this stuff - these "romantic standards ". She completely possesses this material (and/or vice versa). This work is absolutely authentic and fresh, fresh, fresh! Joni's infusion of nuance, character, and soul give new life to these tunes. Her inspired phrasing is an inexpressibly sublime voicing of spirit; without the glorious distraction of Joni's poetry and music one hears how savory and beautifully seasoned her voice has become. This style of music becomes her perfectly. She's a singer! I am humble and grateful yet again, for this artist's explorations. Bearing witness to the wonders of Joni Mitchell's expression is an ongoing blessing of this life. See you in Saskatoon, people.

Peg Eves JMDL Member Comments

Steven Cermola: A Royal Disappointment....

I have been waiting for this for 27 years! Joni Mitchell, my all-time favorite singer, songwriter, poet!

But by the third song, I was devastated. Why is she not singing her own songs? Why is she not playing a guitar or piano? What is that conductor doing in the picture? Why can't my ears pick up on one thread of the woman I have adored since 1973. I have weathered all of her reinventions, but this? Dear Lord, has Joni lost her "cool"?

Half way through, after the anemic "Both Sides Now" (not my favorite song anyway... I would have died right there if she picked up a guitar or piano and did Song for Sharon, Blue, Fury, etc., etc.), I took one long, last look at the shell of the woman I idolized for 27 years, and walked out of the concert.

PPeterson4: Hey Kids!

Could NOT resist the opportunity to hear Ms. Mitchell one more time, so I headed up to Wallingford Connecticut to catch Saturday's show. Walked up to the ticket window and asked if they had any last minute seats and the woman smiled and sold me an incredible one down front and center. The Oakdale Theater is this enormous venue with state of the art facilities in the middle of what appears to be farm land. The sound was spectacular - huge when it needed to be, but always detailed, projecting every nuance of the arrangements and never overpowering Joni's vocals. When I complimented one of the guys at the mixing board after the show he beamed and said "Once in a lifetime music!"

The audience was 80% forty- and fifty- somethings. I never saw so many wide asses, pot bellies and grey hair in one place - I fit right in! Of course there were exceptions: Meryl Streep arrived with a bunch of teen- agers. What other young people there were, seemed to be with their parents too.

After the Debussy, Joni appeared to the first of many standing ovations. Off she went into You're My Thrill and the journey was begun. I've come to really love this collection of songs. They actually do work together to form a whole larger than the sum of its parts. Once it starts you anticipate and savor each element as it unfolds. Not much new to report about her performance except that she seemed even freer than in New York, more willing to improvise. The audience was with her right from the start, cheering her on, standing again after A Case of You, applauding the start of Don't Go to Strangers and Stormy Weather, and losing it after Both Sides Now. I am repeatedly amazed at how that song has been transformed by its new arrangement and the feeling that she invests in it.

For me Hejira was again the high point musically of the show. It's one of her greatest works and the new arrangement with propulsive bass, strings, and drums underscoring her vocal is phenomenal. She called it her song about "going AWOL - running away from everything" They got another standing ovation for it. One guy in the audience kept yelling out "Hey Larry!" It was nice seeing Klein get the recognition.

For the Roses was again stunning in its brilliance. The new arrangement and her vocal make a fitting climax to the evening. After she left the stage the audience held its applause while the orchestra played the apocalyptic conclusion and an empty spotlight searched the stage and ended up on the Joni-less microphone stand. A nice touch.

After a cigarette free Trouble Man (is she quitting?) she introduced the soloists and when she thanked the orchestra, she turned to the audience and said "They're your band" I guess meaning they were all local musicians. "They only had one day to learn all this!"

Then off she went. Lights up. A woman behind me was complaining about the lack of an encore but I have to say it's refreshing not to have to go through that ritual of dragging a performer back out again and again. Joni knows she's great. We know she's great. That was the show. Seemed just right to me.

Now I'm thinking Philadelphia isn't really that far from New York.....

Peg: YES! YES! YES!

Joni Mitchell Nails The Standards ! Don't let anyone tell you this woman can't sing this stuff. She completely possesses it (vice versa obviously). ! This work is so absolutely fresh, fresh, fresh. These songs are reborn. Joni's renderings pulse with nuance and character . Her inspired phrasing is an inexpressibly sublime singing of the soul; her voice so savory and beautifully seasoned. Our Joni takes the stuff to the limit and it becomes her perfectly.The woman's a singer!! I am humble and grateful, yet again for this artist's explorations. Bearing witness to this performance was a blessing I shall rave about for a long time. Joni my dear friend - you go girl!

Chili: I was very lucky in that I was the official photographer of JoniMitchell.com at Wallingford , CT. I was told by the management you can take photos throughout the first two songs. After that, I would be in trouble as big brother would be watching and would take my film. Talk about film noir! Not to mention it is annoying to people who've paid their money and someone's busy buzzing with cameras. Anyway, Ms. Mitchell would not move away from the mike. So, what I have taken and that will appear on Joni Mitchell.com are many shots of "she tapes her regrets to the microphone stand"..." you can't photograph the rock and roll band for very long". So even though there were many great shots that followed later I did not forfeit our film and stayed true to the agreement. Integrity over Artistry. I have only 14 shots out of 36 and there will be a little delay posting them to the JM. Site as I shoot off the rest of the roll.

Also want to mention what a pleasure to meet Fred (Heather's husband and a real jazz afficionado), Jacky (Gertus) from the UK, Jennie, and to have Kenny G as friend and houseguest after the show. He made the train back to NY without stinking like a fish and with not a minute to spare! Also there were so many wonderful people who signed the lyrics book and mentioned their sadness over the passing of Wally. He will live forever in our hearts.

And very special thanks to Heather, Kenny G, Janene, Jim J, and Leslie for their tips, quips, and friendships!

Patrick:

There is nothing quite in the world like sitting in the second row of a concert by one of your idols. Adopting the clear-eyed, communicative reviewer pose is extremely difficult when you are being reduced to mush, song after song.

The following are my complete notes:

----
where's my will
see your dentist
surely you've touched mine
glitter for them so
----

So, clearly what happened was that I spent most of the evening in a fog of overwhelming joy, but every once in a while a little grace note would break through. Joni would make a choice about how to sing a particular lyric that would be so inventive, so musically exciting and so expressive that I would at least grab the pen and try to write something. There many more such moments, but pen seemed inadequate.

Okay, I'll try to be a little more descriptive. The Oakdale was a decent venue; the actual theater very similar to MSG Theater in shape, with nice decor and great sightlines. The lobby had a bunch of Volvos on display, a Joni souvenir stand that didn't accept credit cards (!) and no programs ("Fedex didn't get there on time"...). The company this reviewer kept was sublime.

As in the other shows, Joni played the arc of selections that she and Klein had chosen for the Both Sides Now project. The sequence flowed better than ever and each song had its chills. Still, the swing songs were the ones that really got to me. As "Sometimes I'm Happy" began, I swear Joni smiled at me, so happy to see someone actually bopping to the music. Wait, I'm losing "descriptive", again...

The first set outfit was the one of the Issey Miyakes she wore in West Palm Beach (it was Pearl Weisberg's gorgeous photo 'bout halfway down that page that confirmed it). Sort of turquoise on the outside with the underside of the cape a juicier kelly green, with a sash in the same color. The cape, in this and in most of the outfits, is definitely her security blanket for these concerts. I have pictures in my head of Joni standing with eyes closed, having wrapped herself in her arms and cape, just waiting. She made a beautiful picture in those moments, as we listened to the gorgeous trails of one arrangement or another fade into silence.

Just one more thought to put here. A lot of has been said about the loss of Joni's upper range, but the gain of strength and subtlety in her lower voice is amazing. The way she sings (before the orchestra comes in) the first line of "Don't Worry 'Bout Me", on the album and especially in these performances, is just the sweetest foghorn.

For the second set, Joni had a new outfit, not seen yet on this tour, though obviously Miyake again. Yellow, pleated, kind of skirted, kind of pants. A square piece of pleated material in a darker color (brownish-rose?) acting as an assymetrical skirt in front. The colors in the outfit weren't completely flattering (the darker piece didn't even look like part of the outfit) but the shape was more pleasing, at least to my eye.

"Stormy Weather" is the first song I heard Joni do in a big band setting, but each performance I hear, she seems to dig deeper. "I Wish I Were in Love Again" once again truly swung. Peter Erskine on drums and Chuck Berghofer (standing bass) are taking the rhythm section far beyond the album's version, here. And this "Both Sides Now"...

And then into the unrecorded, the still fresh, the brand new, the Joni-doing-old-songs-like-you've-never-heard-them-before portion of the show. The arrangements for "Be Cool" and "Hejira" both have long instrumental intros with no percussion. When the jazz combo swings into gear, the listener is completely ready. These are amazing, stunningly successful arrangements. Each has an outro (rundgrenology), at the other end of the rhythmic track, that lets you easily and beautifully off of the ride.

The brasses and strings warbling a two-note trill as Wallace Roney brought "Be Cool" down from the sky were particularly gorgeous. And her vocals against these driving tracks (as well as on the encore, Marvin Gaye's "Trouble Man") were inspired and completely confident.

"For the Roses" is not a groove song like "Hejira" or "Be Cool", but on some levels Vince Mendoza has approached the arrangement the same way. Intro, song with rhythmic structure, outro. But, so different in the details... The first chord is purposefully dissonant. The string writing in the intro owes something to mid-twentieth century quartets, say, Shostakovich. Just get-your-attention-sour... taking its time to lead you into the quiet rhythm that lets Joni sing this lyric, which seems to matter so much to her, now and still.

speculation--well, who's to know
if the next one in the nest
will glitter for them so

the arbutus rustles, she departs and mendoza conducts a long, cataclysmic finale as an empty spotlight sweeps the stage.

Fern: Joni Mitchell is a real diva in every sense of the word! She is elegant, self-assured, provocative and multitudinously talented. She unquestionably proved this to an audience of almost 5000 appreciative fans on Saturday night, at the Oakdale Theater in Wallingford Connecticut. Backed by a 50 piece orchestra, conducted by Connecticut born arranger Vince Mendozza, Joni performed a twelve song set from the latest CD, "Both Sides Now," as well as a juicy selection of her own material. Throughout the entire concert, Mitchell displayed the ultimate poise and beauty of a princess. Never has a female so impressed me with her warmth, sincerity and overall stage presence!

Using the entire orchestra or featuring a jazz ensemble up front as backing, her entire approach this time around is world's apart from her beginnings as a young folk artist with a lone guitar. Though some find this disappointing, the true essence of what makes Joni Mitchell a stellar singer, songwriter and performer remains ever present. Mitchell has evolved artistically, but not forsaken those qualities that have endeared her to so many for so long: a stunning stage aura, gustiness to defy musical trends and overall talented genius. Her voice has become even more captivating, with a lower range that only adds to the songs on the new CD, as well as to her own numbers like "Both Sides Now" and "Hejira."

Having the look, sound and allure of a modern day Marlene Dietrich, Mitchell took the nearly sold out crowd on a spellbinding ride through old standards like Billy Holiday's "You've Changed," and Marvin Gaye's "Trouble Man." It was on her own material that she shone the brightest, however. Her rendition of "For The Roses" made the evening worth the price of a ticket alone! It was a magical performance and a "must see" tour for all her long time admirers!

Chili: I was very lucky in that I was the official photographer of JoniMitchell.com. I was told by the management you can take photos throughout the first two songs. After that, I would be in trouble as big brother would be watching and would take my film. Talk about film noir ! Not to mention it is annoying to people who've paid their money and someone's busy buzzing with cameras. Anyway, Ms. Mitchell would not move away from the mike. So, what I have taken and that will appear on Joni Mitchell.com are many shots of "she tapes her regrets to the microphone stand"..." you can't photograph the rock and roll band for very long" So even though there were many great shots that followed later I did not forfeit our film and stayed true to the agreement. Integrity over Artistry.