In times of upheaval, I lean on touchstones–works of art that have shaped me and the continue to be sources of inspiration, influence, and solace. It might be rereading a favorite novel, a cherished poem, a movie, or (especially often) a favorite album with a good pair of headphones.
To casual listeners of Joni Mitchell, Both Sides Now (2000) is a departure. It’s a triptych album of standards outlining a progression of a love affair from “You’re My Thrill” to “Stormy Weather” to “Both Sides Now.” It’s also one of two Joni albums that have become personal touchstones for me. (The other is her 1971 magnum opus, Blue.)
But isn’t it true that singer-songwriters have frequently turned to standards as their careers have progressed? The answer, I think, is that great songwriting has a genealogical throughline: Joni Mitchell, James Taylor, Bob Dylan, and so many others couldn’t have done what they did without coming out of the tradition of Gershwin, Porter, Rodgers, Ellington, etc.
Joni’s singing is remarkable. Intimate, passionate, and with the exquisite phrasing that you expect from a great jazz singer. That should be no surprise – her jazz chops are more considerable and long-developed than her album output admits – and she is joined here by Herbie Hancock, Wayne Shorter, Peter Erskine, and supported by the remarkable arrangements of Vince Mendoza.
The orchestral arrangements, perhaps, are the first thing that drew me to this record – it came out at a time when I was digging deep into arranging as an art form, and Vince Mendoza is an exemplar of contemporary arranging – and this album stands out as proof of his skills. His arrangements are stars in their own right, but never step out in front of Joni’s singing.
But the album became a true touchstone for me when I had the privilege of seeing Joni and the Detroit Symphony Orchestra present the album live at Pine Knob (now DTE Energy Theatre) in Detroit on May 31, 2000. She went on at least an hour late, and held me, my friends, and my new girlfriend, Mandy, in rapt attention as she presented the whole album plus additional songs.
Often it’s the personal connection as much as the strength of the art that makes it a touchstone. For Both Sides Now I think it’s 90% the art, but the last 10% is what takes it over the top and makes it an album that I can turn to again and again.
Touchstones is an ongoing series of posts I’ll be writing during the COVID-19 season, reflecting on the works of art that support me in times of upheaval. I encourage you to make a list of your own “touchstones” and if you like, share them with me to publish here.