Living in the moment, Mitchell metamorphoses

by Michael Parrish
Chicago Tribune
June 1, 2000

In her recent area concert appearances, Joni Mitchell has nimbly, and dramatically, resisted typecasting. At a benefit appearance at the opening of the Old Town School's new digs, she performed a brief, cathartic, solo set that focused on material from her last studio effort, the angry "Taming the Tiger," and demonstrated her considerable skills as a guitarist. A few months later, at a stadium date with Bob Dylan, she reverted to the jazz-rock trappings of her late '70s work and performed a generous, hit-heavy show. At her Tuesday show at the Rosemont Theater, Mitchell played the diva role to the hilt, wearing designer gowns, fronting a full orchestra, and mostly concentrating on the jazz standards she covered on her newest release, "Both Sides Now." Mitchell, sans her trademark open-tuned guitar, seemed at ease, and even playful, serving as vocalist in front of the orchestra, which was augmented by a small group of musicians touring with the singer, including consummate jazz drummer Peter Erskine and the blue tones of trumpeter Wallace Roney. The concert opened with a swirling instrumental rendition of Debussy's "Nuages" ("Clouds"). The bulk of the show that followed consisted of songs from the new disc.

Years of smoking have deepened and flavored Mitchell's once-lilting voice, and she has used her study of the standards to reinvent her phrasing as well as her register. Where the Mitchell of yore would often race through her lyrics, she now lingers over a tune like "You're My Thrill," savoring its verbal and melodic nuances like fine wine. Also, whereas mitchell was previously rendered relatively immobile by her instrument, she has taken to her role as a front person readily, developing an almost cinematic flair for the dramatic.

Mitchell capped off the standards set with her own signature piece, "Both Sides now," the once-wistful song now imbued with overtones of regret and the world-weariness that suit its newly slowed tempo. The remainder of the show was given over to orchestral arrangements of Mitchell's own songs. Rather than choosing her most familiar material, Mitchell focused on some of her most obscure, notably a stunning version of "The Judgement of the Moon and Stars" and a playful swinging romp through "Be Cool." Midway through the second set, Larry Klein, Mitchell's ex-husband, producer, and musical director for the new disc and tour, strapped on his electric bass and joined in on a dense, choppy rendition of "Hejira."

All in all, Mitchell seems to be reveling in her role as chanteuse. At Tuesday's show, she displays an ease and enthusiasm that have not been common in her recent appearances. Joni Mitchell has reinvented herself one more time, embracing her maturity.