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Jul 22, 2024 Web Exclusive By Hays Davis


Joni Mitchell fearlessly evolved her songwriting and performance throughout the period represented by the recordings of The Asylum Albums (1976-1980). The set spans Hejira (1976), Don Juan’s Reckless Daughter (1977), Mingus (1979), and the live Shadows and Light (1980), and though Mitchell has referred to her move from the “hit department” to the “art department,” the music of this period is hardly inaccessible compared to the decade’s earlier popular albums and singles. With Hejira serving as warmly enveloping gateway, those who followed Mitchell forward at the time were rewarded with music that proved to be as intriguing and enduring as any in her career.

Having firmly established herself in the years prior to these albums, Mitchell clearly chose to move ahead in directions that encouraged her growth as an artist rather than to tread water with an eye toward a level of commercial acceptance. The uniquely free expression of Mitchell’s vocals and lyrics made her nearly peerless, whether she was sharing observations or emotional truths, and working with jazz musicians such as guitarist Larry Carlton and bassist Jaco Pastorius brought new color and texture to her music. Hejira was a natural progression from ’75’s The Hissing of Summer Lawns, with “Coyote” and the title track among its highlights. The double album Don Juan’s Reckless Daughter continues in a similar spirit, though more experimental, as with the freer structure of “Overture - Cotton Avenue” and the gorgeous, side-long “Paprika Plains” that incorporates orchestral arrangements.

Mitchell’s collaboration with one of jazz’s major figures, Charles Mingus, produced the album Mingus, which included compositions that he contributed (he died shortly before the album’s completion) as well as some spoken-word tracks. The live album Shadows and Light was recorded in September ’79 during the tour for Mingus, with material that draws almost exclusively from ’74’s Court and Spark onward. With a band that includes Pastorius and guitarist Pat Metheny, Mitchell’s recent work shines in a live setting, and vocal group The Persuasions brings a memorable presence to “Why Do Fools Fall in Love” and a moving “Shadows and Light.”

Available in 5-CD, 6-LP (limited to 5,000 copies), and digital formats, The Asylum Albums (1976-1980) presents the CDs in lovingly recreated, gatefold-album replica form with printed inner sleeves. The remastered albums are offered here with their original tracks, as bonus material from the period will follow in the next installment of Mitchell’s Archive series, with the Asylum set offering a fresh opportunity to revisit or explore a richly creative period in her career. (www.jonimitchell.com)

Author rating: 8.5/10