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Scott Timberg on Creative Destruction

Jazz, Joni Mitchell and the Hollywood Bowl

August 12, 2011 by Scott Timberg

YOU’LL get less of the introverted poet of Blue and only a hint of the lipstick-and-beret chanteuse of Court and Spark. Instead, Wednesday night will summon the jazz phase Joni Mitchell went through in the mid-to-late ’70s.

HERE is  my LA Times story on the Hollywood Bowl show, Joni’s Jazz, which will include all kinds of good people — including Herbie Hancock, who recently took some well-aimed criticism about the pedestrian nature of the Bowl’s jazz offerings — Glenn Hansard, Aimee Mann, Cassandra Wilson and Wayne Shorter.

I enjoyed speaking to several of the above — though I must admit Shorter and I got lost walking down memory lane a bit: He mused about his years in the army, during which he met Lester Young at a mid-’50s Canadian gig (Pres took him downstairs to the wine cellar to see if they could find better cognac than what they were serving at the bar) and raving about the open-mindedness of European jazz fans. (“The crowds — they’re poppin’. All the generations; 13-year-olds into really out stuff. Really feeling it.”)

Michell’s jazz period included the album The Hissing of Summer Lawns — which has what we’d later call “world music” touches and which will be performed in its entirety at the Bowl — and ends with her tribute to bassist/composer Charles Mingus, who died a few months before its release. (Though some very good people play on Mingus, its fusion vibe makes it a lost opportunity for me.)

Mitchell is of course a major figure and innovative guitarist — Richard Thompson is fascinated with her alternate tunings and his old band Fairport Convention covered “Chelsea Morning” and “I Don’t Know Where I Stand” — who I find it easy to like and hard to love. I’m happy for the the Bowl concert — which has a mix of the usual suspects and some imaginative choices — to change that.

Filed Under: '70s, hollywood bowl, jazz, LA Philharmonic, Los Angeles, west coast

Comments

  1. Pete Bilderback says

    August 16, 2011 at 6:58 am

    You know, I really think Blue is an absolutely brilliant album and deserves all the acclaim it gets. While some of her work before that is quite good, it’s a little too patchouli-scented for my tastes. Her music after Blue is often very adventurous, but it doesn’t move me the way Blue does.

    She has certainly become an excellent jazz singer in the later phases of her career. If you listen to her singing on Hancock’s Gershwin album, it is very sensitive without being precious at all. Hope you enjoy the show.

    I envy you getting to chat with Wayne Shorter.

  2. Scott Timberg says

    August 16, 2011 at 7:32 am

    Tks Pete… Yes Shorter was cool… Someone should get his full story in detail before his memories start to slip away.

Scott Timberg

I'm a longtime culture writer and editor based in Los Angeles; my book "CULTURE CRASH: The Killing of the Creative Class" came out in 2015. My stories have appeared in The New York Times, Salon and Los Angeles magazine, and I was an LA Times staff writer for six years. I'm also an enthusiastic if middling jazz and indie-rock guitarist. (Photo by Sara Scribner) Read More…

Culture Crash, the Book

My book came out in 2015, and won the National Arts & Entertainment Journalism Award. The New Yorker called it "a quietly radical rethinking of the very nature of art in modern life"

I urge you to buy it at your favorite independent bookstore or order it from Portland's Powell's.

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Here is some information on my book, which Yale University Press published in 2015. (Buy it from Powell's, here.) Some advance praise: With coolness and equanimity, Scott Timberg tells what in less-skilled hands could have been an overwrought horror story: the end of culture as we have known … [Read More...]

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