Record of the Day: Joni Mitchell, “Hejira”

Joni Mitchell, “Hejira” (Cd Asylum 253053)

There are artists (Ravel and Monteverdi, for example) absolutely incapable of creating works of a modest level, their talent pushes them to create always beautiful works, creating new quality standards for all their colleagues; Joni Mitchell belongs to this very small elite. His entire discography should be recommended as a whole, for the beauty of the music and lyrics, for the perfection of his voice, for the intelligence and foresight (sometimes prophetic) in knowing how to merge and bring together apparently opposite musical worlds.

A great performer capable of conquering any audience solely with voice and guitar, Joni has nevertheless always surrounded herself with the best musicians available on the scene, collaborating with great jazz musicians (the live “Shadows and Light” is unmissable in this sense) and covering her songs with arrangements always impeccable. In the midst of such an abundance of poetry and beauty, the album that still seems to me to stand out above the others is “Hejira”, published in 1976. The title refers to the journey undertaken by Muhammad from Mecca in 622 AD. C., and symbolizes a truly turbulent period in the life of the Canadian artist; tormented by constant romantic problems and cocaine abuse, Joni traveled across the United States, crossing entire regions by car and observing people and situations, filtering her experiences into a handful of songs characterized by immense spaces and skies, where you can feel the desire to cancel yourself in the continuous wandering from one place to another.

Completely abandoning the piano and keyboards, “Hejira” unfolds on a colorful carpet of guitar sounds (mainly due to Larry Carlton) and light percussion, where the inevitable electric bass of Jaco Pastorius, the album’s authentic co-protagonist, stands out. Jaco follows the vocal lines, woos and supports Joni with ever-changing figurations, providing rhythmic support and sudden melodic ascents with an unmistakable style, which always leave room for the voice to move freely, through complex yet immediately accessible lines. Neil Young’s harmonica litters phrases of dark intensity in “Furry Sings The Blues”, while the rhythmic elasticity of “Black Crow” anticipates the jazzy flavors of later albums such as “Don Juan’ Reckless Daughter”.

Carlo Boccadoro, composer and conductor, was born in Macerata in 1963. He lives and works in Milan. He collaborates with soloists and orchestras in different parts of the world. He is the author of numerous books on musical topics.

This text is taken from “Lunario della musica: A record for every day of the year” published by Einaudi, courtesy of the author and the publisher.