Composer-pianist David Lahm's admiration for Joni Mitchell is unequivocal: he calls her "the most original post-Tin Pan Alley songwriter we've ever heard" and his "takes" on her songs attempt to match her originality with his own fanciful, jazzy arrangements. He writes in the liner notes, "I have been able to do what no one else has." Lahm uses instrumental interpretations by musicians largely unfamiliar with Mitchell's songs, and his success will undoubtedly depend on each listener's feelings toward the original material. In particular, one must determine if the absence of Mitchell's utterly unique voice and lyrics is adequately replaced by the individual soloists, and, given the wide stylistic range of Lahm's music, it is difficult to reach any definitive conclusions. However, regardless of one's attachment to the Mitchell originals or one's assessment of Lahm's self-congratulatory interpretations, one thing is perfectly clear: the late Thomas Chapin's extended alto sax solo on "Shadows and Lights" will take your breath away. --Wally Shoup
Album Description
David Lahm and 18 all-star guests demonstrate that Joni Mitchell’s work (on its own, apart from her rendering of it) is jazz composition. It has a place in the repertoire of that most vital and uncompromising genre of music, mainstream American jazz. The highly individualistic, esoteric nature of Joni Mitchell’s repertoire bears a natural affinity to jazz, a genre characterized by improvisation. The highway, the “road,†an image that occurs repeatedly in Mitchell’s work (in both lyrics and cover art) can be metaphorically likened to improvisation itself â€" a departure from the beaten path into wondrous, uncharted territory. In choosing some of Mitchell’s more unusual compositions for this project, producer/pianist David Lahm advances his vision of Mitchell’s oeuvre by means of jazz. In many cases, the songs are almost completely transformed, yet within the transformation something of the spirit of the original resides. And while Joni Mitchell fans may find it incredible, Lahm found himself introducing Mitchell’s work to many of the musicians involved in this project. “Jazz musicians just don’t know her, they inhabit parallel universes,†Lahm notes. “And that was the bridge that I could erect, and hopefully cross here.â€
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