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1. Hi, this is Franklin Vanderbilt. You are listening to KPFK 90.7 FM, Los Angeles, the People's Station.
2. Good morning and welcome to the Global Village.
3. It's music from around the world and around the block.
4. Music
5. I'm your Thursday host, John Schneider.
6. We've got some great music, some interviews, some tickets.
7. Oh, you're going to have a great time, so do stay tuned if you can.
8. Who is one of the most defiant composer, performer, artists?
9. Well, I would say that would be Joni Mitchell.
10. And there's a very special series of shows coming up called Defiantly Joni.
11. We'll be talking about it.
12. It's happening at the Mark Taper Forum.
13. Musique presents Defiantly Joni.
14. During this hour, we'll be listening to some new releases,
15. tipping our hat to the great Harry Smith,
16. whose amazing collection of early American music
17. just changed folk music and our music forever.
18. And some new releases and a lot more.
19. Stay tuned.
20. Thank you.
21. The modern style of minimalism has been around since the 1960s.
22. Some of the founding members, Terry Riley, Lamont Young, Steve Rice, John Adams, early John Adams.
23. And everybody went their own way.
24. As did Mark Mellitz, a guy who lives in Chicago.
25. He's been writing just such fun music for decades.
26. He one of the widest recorded so classical composers for quite a while Players love his music
27. Listeners love his music, too.
28. He's got a new album out.
29. It's called Warp and Weft.
30. It features music for bass clarinet and two different media.
31. In this case, it's marimba and piano.
32. Does the man have a sense of humor?
33. Yes.
34. The name of the piece is called Tight Sweater,
35. and you just heard Exposed Zipper.
36. Hmm.
37. Sense of humor?
38. Sure.
39. Here's Pickle Trousers.
40. Thank you.
41. Thank you.
42. Thank you.
43. From the Sweet Tight Sweater by Mark Millitz.
44. One of the movements, you can't make this stuff up,
45. Evil Yellow Penguin.
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47. Thank you.
48. Thank you.
49. You get the idea.
50. Even when he's talking about mechanically separated chicken parts.
51. New on new Focus Records.
52. Well, that's just half of the record.
53. That's the first suite, Tight Sweaters.
54. There's also a piece that's called Titan.
55. And this one is actually for same bass clarinet player, who, by the way, is Jeff Anderle.
56. This time, he's joined by a string quartet.
57. Here's one of the movements called Hyperion Choroid.
58. © transcript Emily Beynon
59. Thank you
60. ¶¶
61. But not all of his music is such a high-octane, high-energy.
62. He does go slow occasionally, as with liquid methane rain.
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77. 🎵
78. Sous-titrage MFP.
79. The music of Mark Mellott's brand new release, Warp and Weft.
80. He was Jeff Anderley, the bass clarinetist on both of these big tracks,
81. was playing with the Friction Quartet.
82. It's the Global Village, music from around the world and around the block.
83. Hey, if you love Joni Mitchell, as I certainly do,
84. second hour, oh, we're going to spend a lot of time with her music,
85. some late in her career orchestrations of some of her earliest works.
86. It's going to be a blast.
87. And there's going to be a show, by the way,
88. that's happening at the Mark Taper Forum that celebrates the same concept.
89. We'll have tickets for that and an interview.
90. That's coming up during the next hour of the Global Village.
91. So much for new releases. What about old releases?
92. I can't get down there alone, get down and stay all night with thee
93. For the girl I have in that merry green land, I love far better than thee
94. Well, it was a new release in 1952.
95. Folkways Music put together an anthology of American folk music.
96. It was compiled by that extraordinary American polymath Harry Smith from his own collection of 78 RPE records.
97. It consisted of 84 recordings of American folk, blues and country music.
98. Basically music that was issued from 1926 to 1933.
99. And it changed folk music forever.
100. Some take him by his lily-white hand, Some take him by his beak,
101. We throw him in this deep deep well more than 100 feet Lie there lie there
102. There wasn't a folker that didn't own it and get inspired by it,
103. listening to the songs and digging even deeper.
104. Years later, there was a live celebration of the release of the anthology,
105. including Peter Stemple, who talked about Harry's tapes.
106. fly down
107. Harry recorded with a wire recorder
108. back in World War II
109. Harry recorded with a reel-to-reel
110. when the reel-to-reel was new
111. Harry recorded cassettes by the hundred
112. as the century rolled on
113. He even used a telephone answering machine
114. But Harry Smith is gone
115. Speed-rapping killers and jump rope rhymes
116. Fireworks on the 4th of July
117. Complete early canon of Gregory Corso
118. Kittens, snowstorms, airplane trips
119. What is the sound of one hand clapping?
120. Where's tomorrow gone?
121. Most of his tapes are missing in action
122. And Harry Smith is gone
123. But his tapes roll on and they'll never stop
124. Till they roll all over the world
125. To the north and south, east and west
126. Amphetamine babble, junkie mumbles
127. Concerts in the park
128. Banging pans, banging pots
129. Squeaking hinges, dead boat locks
130. Singing birds at sunset, singing birds at dawn
131. Once upon a time he got them all, but Harry Smith is gone
132. Deathbed prayers of Bowery Bums, their death rattles too
133. Ambient sounds of the Rocky Mountains, tea kettles by the slough
134. Squealing brakes, honking horns, on and on and on
135. He worked his magic with a microphone, but Harry Smith is gone
136. But his tapes roll on and he'll never stop till they roll all over the world
137. Over the mountain, across the sea
138. Peyote songs of the Kiowa
139. The Fuggs' first record too
140. The songs of Orlovsky and Ginsberg
141. Rooster's cock-a-doodle-doo
142. Church bells ringing and children singing
143. He kept on keeping on
144. Rolling his tapes till they rolled him up
145. And Harry Smith was gone
146. Rodeos, carnivals, games of basketball
147. Dogs and cats and squirrels and cows
148. Creatures great and small
149. He hustled many hustles
150. He conned a couple of cons
151. He lived the life he wanted to
152. But Harry Smith is gone
153. And his tapes roll on And they never stop Till they roll all over the world I gotta roll to the moon and sun and stars
154. He tried to take the whole wide world and shove it up his ears.
155. He heard it all as one great song, the music of the spears.
156. He planned to tape a series called Movies for the Blind
157. But time and fate had other plans, fate's not always kind
158. Sonic sociology, audio verite
159. A kind of meditation, God's own guest DJ
160. Genius shaman, pain in the ass, peerless paragon
161. We'll never see his like again
162. Harry Smith is gone
163. And his tapes roll on
164. And they never, never stop
165. Till they roll all over the world
166. Over, under, sideways down
167. That was a live concert
168. celebrating the Harry Smith
169. connection for, guess who,
170. Smithsonian Folkways.
171. Otherwise, I mean, a lot of folks
172. never would have heard music
173. like this.
174. Single girl, single girl, she's going dress fine.
175. Oh, she's going dress fine.
176. Marry girl, marry girl, she wears just any kind.
177. Oh, she wears just any kind.
178. Sing, old girl, sing, old girl
179. She goes store and buy
180. Oh, she goes store and buy
181. A married girl, a married girl
182. She rocks Greenland Prime
183. Oh, she rocks Greenland Prime
184. The original anthology, released in 1952,
185. was divided into three different sections.
186. There were social aspects of it, yeah, yeah.
187. Also dance music, social music,
188. and much, much more.
189. That was three volumes.
190. In 2000, posthumously, they released the fourth album.
191. But I tell you,
192. Some of that instrumental music still swings Still swings
193. © transcript Emily Beynon
194. That was from the social music for the songs.
195. Well, a tune that some of you may know.
196. K.C. Moan by the Memphis Jumbies.
197. I thought I heard that kissy when she blowed
198. I thought I heard that Casey when she blow
199. I thought I heard that Casey when she blow
200. She blow like my woman's on board
201. When I get back on that kissy road
202. Oh, when I get back on that kissy road
203. Oh, when I get back on that jazzy road
204. Without Harry Smith and his anthology,
205. we'd never have Jim Queskin and his jug band.
206. ¶¶
207. Way down South Memphis, Tennessee
208. Jug band music sounds so sweet to me
209. Cause it sounds so sweet
210. Ah, it's hard to be
211. Jughead music certainly was a treat to me
212. I was with my gal, put my hand on her knee
213. Said if you can't play the jug, you can't play with me
214. Cause it sounds so sweet
215. It's hard to be
216. Or such classics as...
217. But the meanest blues that beat
218. They're the blues that I've got on my mind
219. I mean the ones that are the meanest kind
220. They're the blues my naughty sweetie gives to me
221. Let's hear it now
222. There are blues you get from women when you see them going swimming
223. And you haven't got a beating suit yourself
224. And there are blues you get much quicker when you're drinking lots of liquor
225. And somebody goes and takes it off the shelf
226. And that blues you get when everything's in hock
227. When your girlfriend doesn't answer when you're not
228. And that blues you get when getting in a taxi cab and fretting
229. Every time you hear the bumper jump a clock
230. And that blues you get when trying to keep your uncle Bill from dying
231. And he afterwards forgets she in his will
232. And that blues you get when kissing when you're walking with your missus
233. And another baby shouts, hi Bill
234. But the blues will make you hop and want to stop and take a cheer
235. But yeah, the blues will want to make you go and end it in the river
236. The blues are my loud-ass sweet-ass gift to me
237. Oh yeah, the blues are my sweet-ass gift to me
238. All started with Harry Smith.
239. And that celebration of Harry Smith,
240. he was one of the first guys to record The Fugs, too.
241. Very controversial back then.
242. So they showed up at the celebration.
243. ...of metaphysical distress.
244. Monday, nothing
245. And Tuesday, nothing
246. Wednesday and Thursday, nothing
247. Friday for a change
248. A little more, nothing
249. Saturday, once more, nothing
250. Monty Cornish, Dinkty Cornish,
251. Midfolk and Dunnish, the Cornish.
252. Pride the Gepis like a Cornish Kegel,
253. the sharpest, dachamo Cornish.
254. The semiotics, nothing, and idiotics, nothing.
255. Wittgenstein and Russell, nothing.
256. John Paul Sartor dead old farter Is he high and bright or is he not Nothing And Da Vinci nothing Stravinci nothing Monet and Monet monotony
257. Minimalism is abysmalism. And John Cage, quietly.
258. And Rabbi Jesus, nothing, Netanyahu, nothing,
259. Muhammad and Krishna, nothing,
260. Buddha, nada, Quailu, dada,
261. Even John Lennon, that was nothing,
262. Folkways, nothing, MPB, nothing,
263. Hollywood and PBN, nothing,
264. The giants of literature, giants of nothing.
265. Litteret, Schmitteret, nothing.
266. And Jack Kennedy is nothing.
267. Gore, Stenley, nothing.
268. Clinton, a friendly, nothing.
269. Democrats, Republicans, large crock of nothing.
270. Gingrich, the square root of nothing.
271. And marriages, nothing.
272. Ain't divorce, something.
273. Having kids is nothing.
274. nothing. They all
275. grow up and leave
276. you anyway.
277. Lost
278. sons and daughters
279. of nothing.
280. Aki, uki, iki, agi, agi, oki,
281. waki, uki, bagi, buka, baka, buka,
282. buka, baka, buka, buka.
283. Da-da-da-da-da-da-da-da-da-da.
284. Da-da-da-da-da-da-da-da-da-da.
285. What do you think? Were the Fuggs nihilists?
286. It's the Global Village.
287. Music from around the world
288. and around the block.
289. Thank you.
290. Thank you.
291. Thank you Thank you
292. Thank you.
293. Thank you.
294. Another Smith, you may not know.
295. Not Harry Smith, but Johnny Smith, one of the great guitarists,
296. who made his big hit also in 1952, just like Harry Smith did.
297. But what a guitar.
298. Started out as a trumpet player, first call, jazzer, and switched to guitar
299. and made a bit of history.
300. even had a guitar named after him
301. by the Gibson Company.
302. Thank you.
303. Thank you.
304. I sorry
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308. Thank you.
309. Thank you.
310. Thank you.
311. Thank you.
312. do
313. do
314. Thank you.
315. accompanied by
316. Malcolm Adlai
317. the great guitarist
318. Johnny Smith
319. music from around the world
320. and around the block
321. right here on KPFK.
322. Come on up at 12 o'clock.
323. We'll be celebrating Joni Mitchell
324. in a very special way,
325. so stay tuned for that
326. and tickets for some live concerts
327. also celebrating the defiant Joni
328. happening at the Mark Daper Forum.
329. Stay tuned to KPFK.
330. You're sitting there yakking right in my face
331. I guess I'm gonna have to put you in your place
332. Sure, if silence was golden, you couldn't raise a dime.
333. Because your mind is on vacation and your mouth is working overtime.
334. You're quoting figures and dropping names.
335. You're telling stories about the days.
336. You're over laughing when things ain't funny
337. You're trying to sound like the big money
338. You know if talk was criminal
339. You would lead a life of crime
340. Because your man is on vacation
341. And your mouth is working overtime
342. Thank you.
343. You know that life is short
344. Talk is cheap
345. Don't be making promises that you can't keep
346. You don't like this little song I'm singing
347. Just grinning back
348. All I can say is if the shoe fits the wet
349. And you must keep talking
350. Please try to make it right
351. Because your mind is on vacation
352. And your mouth is working
353. Ah, the great Mose Allison.
354. Stop this world, let me off
355. There's just too many pigs in the same trough
356. There too many buzzards sittin on the fence Stop this world it not making sense stop this show hold the phone
357. better days this lad has no better days so long ago
358. Hold the phone, won't you stop this show
359. Well, it seems my little playhouse is falling down
360. I think my little ship has run aground
361. I feel like I'm in the wrong place
362. My state of mind is a disgrace
363. So won't you stop this game
364. Deal me out
365. I know too well what it's all about
366. I know too well that it had to be
367. Stop this game, you know it's running me
368. Thank you.
369. Well, I got too smart for my own good
370. I just don't do the things that I know I should
371. There's bound to be some better way
372. I just got one thing more to say
373. And that's stop this game
374. Deal me out
375. I know too well what it's all about
376. I know too well that it had to be
377. Stop this game, you know it's wrecking me
378. Moe's Allison telling it like it is.
379. It's the Global Village.
380. Thank you.
381. Thank you
382. guitar solo
383. Thank you.
384. Thank you.
385. Thank you.
386. Thank you.
387. Thank you.
388. I going to make a little bit of a
389. Thank you.
390. Thank you.
391. Talk about great guitarist Paco de Lucia.
392. Judy Arbus V.
393. Name of that tune.
394. It's the Global Village music from around the world and around the blog.
395. During the next hour, we're going to be celebrating Joni Mitchell.
396. I mean, everybody celebrates Joni Mitchell.
397. How could we not?
398. She is the greatest.
399. And yet the Mark Taper Forum Musique is putting on a series of concerts with some new arrangements of her songs because they are, after all, absolute classics.
400. We'll have some tickets to give away and a conversation with the guy who does the arrangements, too.
401. Stay tuned to KPFK.
402. Hi, this is Lisa Garr inviting you to join me every Wednesday and Thursday at 1 o'clock for The Aware Show
403. as we continue to bring you cutting-edge interviews about health, spirituality, and self-awareness.
404. That's every Wednesday and Thursday, 1 o'clock, on The Aware Show.
405. $10 might seem like a small amount, but when you sign up as a KPFK Sustainer Circle member,
406. that $10 helps pay for daily broadcast of Democracy Now!, the Tom Hartman Program,
407. and all of the news and information you hear on KPFK.
408. You get a lot for your monthly contribution, and we need that gift right now
409. to keep bringing you all of the programs you count on.
410. $10 makes a big impact.
411. We combine it with contributions from your fellow listeners who rely on KPFK as much as you do.
412. Public radio only works with you.
413. This is Kathy Diaz, the Monday host of The Global Village, encouraging you to contribute now.
414. Go to kpfk.org, then click Sustainer Circle.
415. Whatever you can do, please do.
416. Thank you.
417. I am Gregorio Luque and you're listening to KPFK 90.7 FM Los Angeles, 98.7 FM Santa Barbara,
418. and throughout the world you can contact us at www.kpfk.org.
419. The End
420. I've looked at clouds that weep
421. But now they only block the sun
422. They rain and snow on everyone
423. So many things I would have done
424. But clouds caught in my way
425. I've looked at clouds from both sides now
426. On up and down
427. And still somehow
428. It's cloud illusions
429. I recall
430. I really don't know class
431. At all
432. The one, the only, Jody Mitchell,
433. who revolutionized American songwriting,
434. paving a path for future musicians to take ownership of their artistry.
435. She's defiant, wouldn't you say?
436. And to celebrate the defiant Joni Mitchell,
437. Muzik will be presenting a series of concerts at the Marquette to perform.
438. This hour of the Global Village comes to you in part from the Center Theater Group
439. and Musique, presenting Defiant
440. Shining from July 11th
441. to the 19th at the Marti
442. Perform. More information at
443. centertheatergroup.org
444. When you love an artist, when you love
445. a song,
446. you just can't help
447. but want to somehow take part.
448. goes and flows of angel hair and ice cream castles in the air and feathered canyons everywhere
449. i've looked at clouds that way but now they only block the sun they rain and snow on everyone
450. Judy Collins, of course, famously covered the song,
451. and in fact, Joni herself rearranged the music later on.
452. As her voice changed, as her life changed,
453. what an extraordinary transformation.
454. rows and flows of angel hair
455. And ice cream castles in the air
456. And feather canyons everywhere
457. Looked at clouds that way
458. But now they only block the sun
459. They rain and they snow on everyone
460. So many things I would have done
461. But clouds got in my way
462. Years later, a salute to this wonderful song,
463. Larry Klein's production.
464. Well, what's happening at the Mark Taper Forum?
465. It's going to be an amazing salute, in fact.
466. Michael Valerio has arranged a lot of these amazing songs
467. and offered them up to Chris Pierce,
468. Evie Pissarro, and even the DC Six Singers Collective.
469. It's going to be quite an experience, to say the least.
470. So let's ask the man himself.
471. Hey, Mark, how are you?
472. Hi, how you doing?
473. Doing well, doing well. You have taken on a most extraordinary challenge, have you not?
474. Now, you've been the arranger for Musique, who is this extraordinary, well, what should we call it, a presenter, a re-inventor, an explorer of music that is known and some is unknown.
475. You've been doing a lot of arrangement for them, haven't you?
476. Yes, I have, actually, for the last eight or ten years or so.
477. I've more recently become their principal arranger
478. so I have some input into our other stable of arrangers as well
479. in terms of what our needs are for each of these concert series that we do
480. and I also am in touch with Rachel Warby
481. our fearless leader
482. quite a bit one-on-one when we decide on
483. program material
484. the cast of characters that we're going to use
485. the size of the group
486. and then the size of the individual arrangements,
487. what we're trying to achieve over the course of our full show
488. for maximum impact to our wonderful audience.
489. So how did you even begin to approach this music?
490. Because these are, for a lot of people,
491. these are sacred texts and sacred recordings too.
492. Yes, they are.
493. And usually as the principal arranger, I get first dibs.
494. And I'm so glad that you played a little bit of that wonderful Vince Mendoza arrangement that Joni did of Both Sides Now, because that's been a real touchstone for me.
495. and Vince Mendoza's arrangements have also just been a wealth of information
496. and a source of true enjoyment as a listener, as a musician, as a human.
497. And also as an arranger there always something to learn from Vince and the path that he cut for us all to see I didn want to do the same thing with a tune like Both Sides Now
498. Most of the versions that we hear of Both Sides Now, the message and general tone of the arrangements is one of despair to a degree.
499. and I didn't want to go that route
500. so for Both Sides Now in particular
501. I decided I wanted to be a little bit more courageous
502. I wanted to be a little bit more of a pressing on
503. I've looked at love from both sides now
504. but I'm carrying on anyway and I'm still here
505. and I wanted that to be the message
506. as Joni is also still here
507. and still the artist that she always was
508. Oh yes indeed
509. Well, you had a choice because you actually have three incredible vocal producers, singers, I think they call them.
510. Chris Pierce is the male, of course.
511. Effie Pissarro is the female.
512. But you've also got a whole group, the DC6 chorus.
513. And I know that you've done some fascinating arrangements before that include a lot of different voices.
514. Well, for example, I mean, who would ever thought about arranging Goodbye Yellow Brick Road?
515. Back to the howling wood, howling the woods, hunting the horned toad.
516. Oh, I've finally decided my future lies beyond the yellow brick road.
517. A real showstopper there.
518. So, again, you get to choose not just the style of presentation,
519. but the musical style and the emotional impact, too.
520. Indeed.
521. It's not a trust that's taken lightly.
522. It's something that I care very deeply about.
523. and the choices I make
524. all need to obviously revolve around the source material.
525. What is the message of the song?
526. What is it that we like about the song?
527. What is it that we react to in the song,
528. emotionally and otherwise?
529. In the case of Yellow Brick Road,
530. Lowen's colleague, what a wonderful singer he is,
531. And we did that as part of our Back to Oz series a couple of months ago, which was really wonderful in so many ways, just because the Wizard of Oz story is just kind of so key and central to so many of us on this planet that have grown up watching it on television year after year.
532. and continues again in the story of The Wiz,
533. the Quincy Jones production, and also more recently Wicked,
534. kind of the backstory of the what-ifs of these characters
535. that we met in The Wizard of Oz.
536. But in the case of that arrangement,
537. I knew that LaVance was going to be doing it
538. because I asked for LaVance to do the song.
539. He's got such an incredible range vocally and musically.
540. And it was a real joy to write for him.
541. But I wanted it to hit a little bit harder.
542. I wanted it to be a really emotional moment.
543. And it was for all of us with great thanks to Levance for his powerful performance Yeah there nothing like knowing the artist And sometimes of course you get to use a hook that really grabs people
544. Hell of a horn section you got there.
545. Indeed.
546. Yes, absolutely.
547. So Muzik has budget.
548. Yes, it does.
549. It has budget and breadth and a real draw for the audience and for performers alike.
550. we've created quite a stir in our musical community
551. and all the folks that are in the top jobs
552. in the top seats
553. all want to be a part of what we do there
554. because it is much of the most exciting
555. and current music to be found
556. in the marketplace right now
557. we should let people know that if they are interested
558. in more information about music
559. We're not talking about the word music.
560. It's called MuseEek.
561. That's M-U-S-E forward slash I-Q-U-E.
562. Almost look French.
563. But, of course, there is a website, so dig in there.
564. And the whole concept of musique is, well, what?
565. Rachel Warby, who's had quite a storied career
566. as a conductor and a visionary. She did the Young People's Concerts in New York for 12 years.
567. She was the music director of the Wheeling Symphony in Wheeling, West Virginia.
568. She was the conductor of the Pasadena Pops. And when things got closer to a point in her life
569. where she could start calling shots and coming up with an idea of what it was that she always
570. wanted to do, she birthed this concept of musique. And what is it? It's equal parts
571. storytelling and music making. There's always a central theme and there's always a musicologist's
572. eye on the backstory of how this music came to pass. The performers involved, the politics at
573. the time, just what was going on in the world, the social dynamics, etc.
574. And Rachel is so genius at coming up with these concepts, these themes for each of our
575. concert series that we do.
576. In this case it's Joni Mitchell.
577. We've also done ones on Spanish Harlem.
578. We've also done ones on the Harlem Renaissance.
579. We've also done ones on Duke Ellington.
580. We've also done ones on The Wizard of Oz and the backstory
581. and all of the various pieces of the puzzle that come together
582. to create this life moment that we've come to celebrate.
583. And it's a chance to sort of relive the magic of those moments
584. and a chance for our audience to learn a thing or two
585. about what was going on at the time
586. and how these particular periods in time came to pass.
587. and how this particular music came to exist.
588. And it's great fun for me because Rachel, with her ideas being so strong, she still gives me free reign to come up with other ideas and to bring other things to the table.
589. So how does that concept play into Joni's era?
590. Because her era started a long time ago from Laurel Canyon to the future, right?
591. Yes, indeed.
592. So how it works is there's obviously a lot of Joni's music on this concert, but there's also music of her co-conspirators.
593. There's music that is Carole King's music, where Joni was one of the background singers on one of Carole's songs on the Tapestry album.
594. we're also doing a Pat Metheny song
595. Bright Size Life
596. so that we can compare and contrast to its effect
597. on a song like Coyote
598. and each of those songs had a very powerful
599. bass player named Jaco Pastorius
600. in the bass chair and Joni and Jaco
601. had a wonderful musical relationship
602. that
603. it created such incredible music
604. the two of those minds together. And Joni had spent her entire life looking for, or up to that point,
605. a bass player like Jaco who wasn't afraid to take chances and wasn't just an oompa bass player,
606. but someone that played chords and someone that played a fretless bass, which has got a more
607. more vocal quality to the instrument.
608. And so we'll do pairings of songs to show their effect on each other.
609. We'll do music from the surrounding areas.
610. We're doing a Crosby, Stills, and Nash song.
611. We're doing some James Taylor.
612. we're doing, you know, other songs that play into this story of who is Joni Mitchell,
613. who were her influencers as well as those whom she influenced, and how did this all happen.
614. And Rachel does a wonderful job of making a case for all of these little stories within the larger story.
615. That's amazing. Well, now I see why you have stringers for arrangers.
616. you couldn't possibly do all those charts, right?
617. Right, exactly.
618. So we've got a great cast of characters in our arranging department.
619. The fabulous Gabe Witcher has done a couple of the arrangements for us on this.
620. Gabe made a lot of bones in a very well-known group by Chris Teely called the Punch Brothers.
621. Oh, sure, sure.
622. And Gabe's a fantastic vocalist as well as a mandolin player.
623. But his face card is usually on the fiddle, which is really fun, and we're very lucky to have him.
624. And then Jamie Tate, our principal drummer, has done several of the arrangements as well.
625. And he always does great work and is a fabulous co-conspirator for me as part of the rhythm section as I get to play bass in the group as well.
626. Yes, yes.
627. Well one thing that people should know about music this particular concert is happening at the Mark Taper Forum but it a movable feast Sometimes you show up at many different venues How do you choose Just by the style of what happening or what the theme is
628. Some has to do with availability of the venues.
629. We've had marvelous relationships with the folks in the Huntington Gardens
630. and also the Skirball Center and the Wallace Annenberg in Beverly Hills.
631. as well as the Mark Taper Forum.
632. And then there's other little places.
633. We did a show called Hollywood Vine in a club called The Avalon,
634. which is just about at Hollywood and Vine,
635. and it seemed like a perfect place to have that.
636. But it's always the crack team of expert researchers
637. and expert logistics people with music do a fine job of looking at schedules,
638. looking at when people are available, looking when the venues are available,
639. and then we sort of, you know, sometimes on a program we'll do multiple venues
640. where we'll start in one place and then end up in another place or two.
641. In the case of the Mark Taper, they're always so generous with us
642. and allow us to do a sit-down so that we can do seven performances
643. like we are doing for the Defiantly Joni show.
644. Yes, oh, it looks just so exciting.
645. And those shows start on July 11th all the way through the 19th.
646. Do stay tuned, by the way.
647. We've got some tickets for the 17th for call-in.
648. So congratulations on what's going to be another great show.
649. So nice to meet you.
650. Great to meet you.
651. Thanks for the opportunity.
652. That's Michael Valeria, who is the head man.
653. He is the main arranger for Muzik.
654. And remember, it's M-U-S-E slash I-Q-U-E.
655. More information about this particular show, Defiantly Joni, you can go to centertheatergroup.org.
656. What's it going to be like?
657. Well, you know, you can take a song and you can do all sorts of things with it.
658. We're going to spend the rest of this hour doing exactly that, listening to different versions of the great Joni Mitchell.
659. By the way, if you're interested in getting a pair of those tickets for the 17th, give us a call at 818-985-5735.
660. 818-985-KPFK.
661. Just before our love got lost you said
662. I am as constant as a northern star and I said
663. Constantly in the darkness, where's that at?
664. If you want me I'll be in the bar
665. On the back of a cartoon coaster
666. In the blue TV screen light
667. I drew a map of Canada
668. Oh, Canada
669. With your face sketched on it twice
670. Oh, you're in my blood like holy wine
671. It tastes so bitter and so sweet oh I drink a case of you darling And I would still be on my feet oh I would still be on my feet
672. I am a lonely painter
673. I live in a box of paints
674. I'm frightened by the devil
675. And I'm drawn to those ones that ain't afraid
676. I remember that time you told me
677. You said love is touching souls
678. Surely you touch my anchor, heart you pours out of me
679. In these lines from time to time
680. Oh, you're in my blood like holy wine
681. You taste so bitter and so sweet
682. Oh, I could think a case of you
683. Ooh, darling, still I feel my feet.
684. I will still be on my feet.
685. ¶¶
686. ¶¶
687. I'm sorry.
688. I am as constant as a northern star and I sit constantly in the darkness. Where's that at? If you want me, I'll be in the bar.
689. On the back of a cartoon coaster
690. In the blue TV screen light
691. I drew a map of Canada
692. Oh, Canada
693. And I sketched your face on it twice
694. Oh, you were in my blood like holy wine
695. Oh, and you taste so bitter, but you taste so sweet
696. Oh I could drink a case of you I could drink a case of blue by me Still I be on my feet I still be on my feet
697. Oh, I am a lonely painter
698. I live in a box of paints
699. I'm frightened by the devil
700. And I'm drawn to those ones that ain't afraid
701. I remember that time that you told me
702. You said love is touching souls
703. Surely you touched mine
704. Cause part of you pours out of me
705. In these lines from time to time
706. Oh, you were in my blood like holy wine
707. And you taste so bitter, and you taste so sweet
708. I could drink a case of you
709. I could drink a case of you, darling
710. Still I'd be on my feet
711. I'd still be on my feet
712. I met a woman, she had a mouth like yours
713. She knew your life, she knew your devils and your deeds
714. And she said, go to him, stay with him if you can
715. But be prepared to bleed
716. But you are my blood, you're my holy wine
717. You taste so bitter, but you taste so sweet
718. I could drink the case for you
719. But
720. Still I'd be on my feet
721. Still I'd be on my feet
722. I'd still be on my feet.
723. Thank you.
724. 🎵
725. Thank you.
726. Thank you.
727. Thank you.
728. Thank you.
729. Thank you.
730. Thank you.
731. ¶¶
732. Thank you.
733. wow
734. Thank you.
735. Thank you.
736. A Case of You, music of Joni Mitchell.
737. We heard most of the original,
738. Then the rearrangement, Vince Mendoza, produced by Larry Klein, orchestral version.
739. We're celebrating Defiantly Joanie, this wonderful show that's happening at the Mark Taper Forum,
740. from all the way from July 11th to the 19th.
741. More information at centertheatergroup.org or muzeek.org, M-U-S-E forward slash I-Q-U-E.
742. We still have one more pair of tickets available.
743. If you want to give us a call at 818-985-5735, that would be for Friday night.
744. That's a week from tomorrow night.
745. On the 17th at 7.30, a pair of tickets to help celebrate Joni.
746. The same way that, well, Herbie Hancock's Sherbert enjoying Joni.
747. His Grammy The Joni Letters of course was really something Taking Joni music and orchestrating it people just can let go For example
748. piano plays softly
749. piano plays softly
750. piano plays softly
751. Love came to my door with a sleeping roll
752. And a madman's soul, he thought for sure I'd seen him
753. Dancing up a river in the dark
754. Looking for a woman to court and spy
755. So that phone number is 818-985-5735.
756. Here's the original Court and Spark.
757. He was playing on the sidewalk for passing change
758. When something strange happened, glory train passed through him
759. So he buried the coins he made in People's Park
760. And we're looking for a one-two card and a spark
761. It seemed like he read my mind
762. He saw me mistrusting and still acting kind
763. He saw how I worried sometimes
764. I worry sometimes
765. Well, Herbie Hancock also,
766. and had decided in his wonderful Grammy-winning album,
767. The Joanie Letters, ask Nora Jones to sit in.
768. Thank you.
769. Love came to my door, a sleeping rose
770. And a madman's soul, he thought for sure I'd seen it
771. Dancing up a river in the dark
772. Looking for a woman to call and spy
773. He was playing on the sidewalk A change something strange happened the war retrain passed through so he buried the coins he made in people park went looking for a woman to court and spy
774. It seemed like you read my mind
775. You saw me mistrusting him
776. Still acting kind
777. You saw how I worried sometimes
778. How I worried sometimes
779. ¶¶
780. Tony Mitchell's Quartz and Spark, as reimagined by Herbie Hancock and friends,
781. well, sometimes it's not just the big ballads that they pick up on.
782. Sometimes it's stuff like this.
783. From the album Hissing of Summer Lawns, Jungle Lines.
784. on trumpet pads
785. Safaris to the heart
786. of all the jazz
787. Through eye bars and girders
788. Through wires and pipes
789. The mathematic circuits
790. of the modern nights
791. Through huts, through Harlem
792. Through jails and gospel pews
793. Through the class on park and the trash on vine
794. Through Europe and the deeply part of Dixie Blue
795. Through savage progress cuts, the jungle line
796. In a low-cut blouse, she brings the beer.
797. Brousseau paints a jungle flower behind her ear.
798. Those cannibals of shuck and jibe,
799. they'll eat a working girl like her alive.
800. So in Herbie Hancock's rethinking of Jungle Line, who does he pick?
801. Wait for it.
802. Russo walks on trumpet paths.
803. Safaris to the heart of all that jazz
804. Through eye bars and girders, through wires and pipes, the mathematic circuits of the modern nights.
805. Through huts, through Harlem, through jails and gospel pews.
806. Through the class on park and the trash on vine
807. Through Europe and the deep, deep heart of Dixie Blue
808. Through savage progress cuts the jungle line
809. In a low-cut blouse she brings the beer, Russo paints a jungle flower behind her ear.
810. Those cannibals of shuck and jive, they'll eat a working girl like her alive.
811. With his hard-edged eye and his steady hand, he paints the cellar full of ferns and orchid
812. vines and he hangs a moon above the five-piece band.
813. He hangs it up above the jungle land.
814. The jungle line, the jungle line, screaming in a ritual of sound and time.
815. Floating, drifting on the air-conditioned wind and drooling for a taste of something
816. smuggled in.
817. Pretty women funneled through valves and smoke,
818. coy and bitchy, wild and fine,
819. and charging elephants and chanting slaving boats,
820. charging, chanting down the jungle line.
821. There's a poppy wreath on a soldier's tomb. There's a poppy snake in the dressing room.
822. Poppy poison, poppy tourniquet. It slithers away on brass like mouthpiece spit.
823. And metal skin and ivory birds go steaming up to Russo's vines.
824. They go steaming up to Brooklyn Bridge.
825. Steaming, steaming, steaming up the jungle line.
826. Thank you
827. Herbie Hancock and Leonard Cohen
828. taking on
829. the Jungle Line of Joni Mitchell.
830. We're celebrating Joni Mitchell.
831. They're celebrating Joni Mitchell at the Mark Taper Forum.
832. musik is bringing these
833. songs to a whole new level.
834. It's going to be fascinating. More information at
835. centertheatergroup.org. It's happening
836. at the Mark Taper Forum.
837. At Joni's 75th
838. birthday, people just couldn't
839. help singing
840. her songs.
841. I am on a lonely road and I am traveling, traveling, traveling, traveling
842. Looking for something, what can it be?
843. Oh, I hate you some, I hate you some, I love you some
844. Oh, I love you when I forget about me
845. I wanna be strong, I wanna laugh along
846. I wanna belong to the living
847. Alive, alive, I wanna get up and chat
848. I wanna wreck my stock as it's a jukebox time
849. Do you want, do you want, do you wanna dance with me, baby?
850. Do you wanna take a chance on maybe finding some sway?
851. I promise now, baby, come on
852. All I really, really want our love to do
853. Is to bring out the best in me and in you too
854. All I really, really want our love to do
855. Is to bring out the best in me and in you
856. I wanna talk to you, I wanna share for you, I wanna renew you again and again
857. Applause, applause, life is all cause when I think of you kissing my mind since I was easy, easy, easy
858. Now you're hurting me baby, now I hurt you too
859. Then we both get so close
860. I am on a lonely road and I am traveling traveling traveling traveling Looking for the key to set me free of the jealousy the greed is the unraveling It the unraveling and it underscores the joy that could be
861. I wanna have fun, I wanna shine like the sun
862. Rufus Wayne Rye, singing Joni Mitchell, of course
863. She herself would re-sing her songs
864. the celebration defiantly joanie she is defiant
865. i'm gonna make you pray
866. rose and flowers of angel hair
867. And ice cream castles in the air
868. And feather canyons everywhere
869. Looked at clouds that way
870. But now they only block the sun
871. They rain and they snow on everyone
872. So many things I would have done
873. But clouds got in my way
874. I've looked at clouds
875. From both sides now
876. From up and down
877. And still somehow
878. It's cloud illusions I recall
879. I really don't know clouds
880. At all
881. Moons and dunes
882. And fairy swears
883. The dizzy dancing way that you feel
884. As every fairy tale comes to you
885. I've looked at love that we
886. But now it's just another show
887. And you leave them laughing when you go
888. And if you can, don't let them know
889. Don't give yourself away
890. I've looked at love from both sides now
891. From give and take
892. And still somehow it's love's illusions that I recall.
893. I really don't know love.
894. I really don't know love at all.
895. The great Joni Mitchell.
896. It the Global Village music from around the world and around the block Such a pleasure bringing you this beautiful music and such a pleasure having you on the other end of this microphone
897. Thanks for tuning in.
898. Thanks for supporting KPFK, of course.
899. And thanks for keeping the Global Village alive
900. because it's a pretty special thing.
901. Tomorrow, Sergio is going to be bringing us some of Brazil's top samba singers.
902. including Acción, Sagato Pinho, Diego da Queda,
903. Rino de Viola, and many, many others.
904. Well, as Sergio puts it,
905. samba, we can say, is Brazil's national music and dance.
906. It's a powerful expression of its history,
907. its culture, its joy.
908. Join Sergio tomorrow from 11 to 1
909. and afterwards at kpfk.org at the archives
910. The Global Village, music from around the world and around the block
911. I'm your Thursday host, John Schneider
912. I'll be here next week, I'll be waiting for you
913. Prova e decreta que o samba é patrimônio cultural desse país
914. E vem gente de todo lugar só pra ver nosso samba firmar
915. Todo mundo querendo sambar e o samba não pode parar
916. Procurei pela lua no céu e notei que ela foi repousar
917. E o sol tá mandando avisar que o dia já vai clarear
918. E vem gente de todo lugar só pra ver nosso samba firmar
919. Just to see.
920. Hi, I'm Sergio Melnichenko with The Global Village.
921. Join me Fridays at 11 a.m. with music from around the world and around the block,
922. as well as some very special interviews, Fridays from 11 to 1 p.m.
923. right here on KPFK Los Angeles, 90.7 FM, house streaming on kpfk.org.
924. Would you like KPFK to still be on the air 60 years from now?
925. Here is a surprisingly simple way to help.
926. You don't have to donate a radio tower or discover the next Bob Dylan.
927. Just consider including KPFK in your will.
928. Believe it or not, one sentence can help keep independent journalism, fearless conversations,
929. incredible music and community voices alive for generations to come.
930. It's one of the easiest ways to make a lasting difference and it costs nothing today.
931. Visit kpfk.org slash give to learn how,
932. because the greatest legacy isn't what you leave behind, it is what you help keep alive.
933. Help make sure KPFK is still turning up the volume, challenging the status quo.
934. Quo and inspiring listeners for the next 60 years and more.