One of the most profound moments in my career as a music journalist was a captivating, three-hour interview with the legendary Joni Mitchell in 1996. Held in a Los Angeles restaurant, the conversation was an expansive exploration of guitar, songwriting, and so much more. Mitchell’s intellectual curiosity was on full display as she seamlessly weaved through topics ranging from physics and Picasso to her fondness for the television show Northern Exposure. This deep dive into her artistic mind provided invaluable insights into the creation of Joni Mitchell Songs.
This extensive interview initially saw publication in two parts within Acoustic Guitar magazine (August 1996 and February 1997). It was later expanded upon for my book, Rock Troubadours. Years later, Warner Bros. Publications sought permission to reprint the first Acoustic Guitar segment in a comprehensive and definitive Joni Mitchell songbook, a project that had been underway for quite some time. The realization of this songbook, Joni Mitchell Complete: So Far…, in 2014 was a delightful surprise. Opening the beautifully crafted hardcover, I was genuinely touched to find Mitchell’s personal acknowledgement, thanking me “for asking interview questions that actually pertained to the art and the music.” This was an incredibly rewarding recognition, affirming my long-held approach to music journalism and editing, always prioritizing the artistic core.
Unlike other entries in this series which typically focus on a single song, the following excerpts from my interview with Mitchell delve into her broader instrumental influences and the creative headspace she occupied during the genesis of her seminal album Blue, released in 1971. Blue is considered by many to be one of the greatest Joni Mitchell songs collections ever produced.
For those interested in a closer examination of Mitchell’s distinctive guitar style, I invite you to explore my video lesson, originally featured in the February 2019 issue of Acoustic Guitar and readily accessible online here.
The Dulcimer’s Distinctive Voice in Joni Mitchell Songs
A defining characteristic of the soundscape of Blue is the mountain dulcimer. Joni Mitchell masterfully incorporated this instrument into several iconic tracks, including “All I Want,” “Carey,” “California,” and “A Case of You.” Her introduction to the dulcimer occurred at the 1969 Big Sur Folk Festival, where she acquired her first instrument from builder and musician Joellen Lapidus. Mitchell later ingeniously adapted her percussive dulcimer playing technique back to her guitar work, further enriching her unique sonic palette within Joni Mitchell songs.
I had never witnessed anyone playing it before. The traditional approach involves picking it with a quill, resulting in a delicate sound, with the instrument resting across the knee. My only prior experience with an instrument across my knee was a bongo drum. Consequently, when I began playing the dulcimer, my instinct was to strike it. I simply slapped it with my hands.
In any case, I purchased it and embarked on a trip to Europe, carrying a flute and this dulcimer, primarily because of its light weight, ideal for backpacking across Europe. It was on this dulcimer that I composed the majority of the songs for Blue.
This exploration of the dulcimer and its role in the creation of Blue provides a glimpse into the innovative spirit behind Joni Mitchell songs. Her willingness to experiment with instruments and techniques is a hallmark of her enduring artistry.
