Album Info

Album Veröffentlichung:


Label: Warner Music Group

Genre: Pop

Subgenre: Pop Rock

Das Album enthält Albumcover

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  • 1Happy Birthday 197500:57
  • 2God Must Be a Boogie Man04:36
  • 3Funeral01:07
  • 4A Chair In the Sky06:43
  • 5The Wolf That Lives In Lindsey06:36
  • 6I's a Muggin'00:08
  • 7Sweet Sucka Dance08:05
  • 8Coin In the Pocket00:12
  • 9The Dry Cleaner From Des Moines03:22
  • 10Lucky00:04
  • 11Goodbye Pork Pie Hat05:37
  • Total Runtime37:27

Info zu Mingus

Joni Mitchell's most controversial album is the infamous „Mingus“. A tribute to the legendary jazz bassist of the same name, this is an intriguing meeting of Joni's sultry, burnished vocals and some of the best modern jazz musicians, at the intersection of pop and jazz.

Critics in both the rock and jazz worlds unjustly dismissed the record as an attempt by Mitchell to exploit Mingus or to needlessly elevate pop to a more sophisticated level. Mitchell's voice is well suited to the moody jazz melody of Mingus' "A Chair In The Sky." The melodic comments of the masterful Jaco Pastorius' fretless bass weave their way seductively through Joni's melancholy interpretation of "Sweet Sucker Dance." The high point of the album, however, is the funky "The Dry Cleaner From Des Moines" which benefits from Pastorius' gurgling bass groove and dynamic horn arrangement.

The album finale is the beautiful ballad "Goodbye Pork Pie Hat," on which Mitchell delivers one of the most heartfelt and stunning vocal performances of her career. To complete the picture, snippets of conversations with Mingus are inserted between tracks to draw the album into a cohesive whole.

Joni Mitchell, guitar, vocals
Wayne Shorter, soprano saxophone
Herbie Hancock, electric piano
Jaco Pastorius, bass, horn arrangement
Peter Erskine, drums
Don Alias, congas
Emil Richards, percussion

Recorded at A&M Studios in Hollywood by Henry Lewy and Steve Katz
Mixed by Joni Mitchell, Henry Lewy and Steve Katz
Mastered by Bernie Grundman

Digitally remastered

Joni Mitchell began as the archetype of the folkie female singer-songwriter, an heir to Joan Baez. But she quickly moved forward, incorporating influences from jazz and the blues. 'Joni Mitchell heard Billie Holiday sing 'Solitude' when she was about nine years old — and she hasn't been the same since,' says Herbie Hancock. Those lessons of emotional vulnerability are evident in her delicate soprano trill, as well as in the undisguised wear of the sultry voice of her later work, punctuated by her jazzy syncopation. 'Joni's got a strange sense of rhythm that's all her own,' Bob Dylan told Rolling Stone. Above all, Mitchell won't be boxed in. 'The way she phrases always serves the lyrics perfectly, and yet her phrasing can be different every time,' Hancock says. 'She's a fighter for freedom.' (Source: Rolling Stone Magazine)

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