Joni Mitchell

Roberta Joan Mitchell (née Anderson; born November 7, 1943) is a Canadian and American singer-songwriter, multi-instrumentalist, and painter. As one of the most influential singer-songwriters to emerge from the 1960s folk music circuit, Mitchell became known for her personal lyrics and unconventional compositions, which grew to incorporate elements of pop, jazz, rock, and other genres. Among her accolades are eleven Grammy Awards, and induction into the Rock and Roll Hall of Fame in 1997. Rolling Stone, in 2002, named her "one of the greatest songwriters ever", and AllMusic, in a 2011 biography, stated "Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century."

Mitchell began singing in small nightclubs in Saskatoon and throughout western Canada, before moving on to the nightclubs of Toronto. She moved to the United States and began touring in 1965. Some of her original songs ("Urge for Going", "Chelsea Morning", "Both Sides, Now", "The Circle Game") were first recorded by other singers, allowing her to sign with Reprise Records and record her debut album, Song to a Seagull, in 1968. Settling in Southern California, Mitchell helped define an era and a generation with popular songs such as "Big Yellow Taxi" and "Woodstock" (both 1970). Her 1971 album Blue is often cited as one of the greatest albums of all time; it was rated the 30th best album ever made in Rolling Stone's 2003 list of the "500 Greatest Albums of All Time", rising to number 3 in the 2020 edition. In 2000, The New York Times chose Blue as one of the 25 albums that represented "turning points and pinnacles in 20th-century popular music". NPR ranked Blue number 1 on a 2017 list of the "Greatest Albums Made By Women".

Mitchell began exploring more jazz-influenced ideas on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris" and became her best-selling album. Mitchell's vocal range began to shift from mezzo-soprano to that of a wide-ranging contralto around 1975. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she melded jazz with rock and roll, R&B, classical music and non-Western beats. Starting in the mid-1970s, she began working with noted jazz musicians including Jaco Pastorius, Tom Scott, Wayne Shorter, Herbie Hancock, and Pat Metheny as well as Charles Mingus, who asked her to collaborate on his final recordings. She later turned to pop and electronic music and engaged in political protest. She was awarded the Grammy Lifetime Achievement Award in 2002.

Mitchell produced or co-produced most of her albums and designed most of her own album covers, describing herself as a "painter derailed by circumstance". A critic of the music industry, she quit touring and released her 19th and last album of original songs in 2007. She gave occasional interviews and made appearances to speak on various causes over the next two decades, though the rupture of a brain aneurysm in 2015 led to a long period of recovery and therapy. A series of retrospective compilations were released over this time period, culminating in the Joni Mitchell Archives, a project to publish much of the unreleased material from her long career. She returned to public appearances in 2021, accepting several awards in person, including a Kennedy Center Honor. Mitchell returned to live performance with an unannounced show at the June 2022 Newport Folk Festival and has made several other appearances since, including headlining shows in 2023 and 2024.

Early life and education

Born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Mitchell is the daughter of Myrtle Marguerite (née McKee) and William Andrew Anderson. Her mother's ancestors were Scottish and Irish; her father was from a Norwegian family that may have had some Sámi ancestry, according to one family member. However, Norwegian genealogist Arnfrid Mæland disputes this claim, saying that the family tree has no Sámi lineage dating back to the 1600s. Her mother was a teacher. Her father was a Royal Canadian Air Force flight lieutenant who instructed new pilots at RCAF Station Fort Macleod. During World War II, she moved with her parents to various bases in western Canada. After the war ended, her father worked as a grocer and her family moved to Saskatchewan, living in Maidstone and North Battleford. She later sang about her small-town upbringing in several of her songs, including "Song for Sharon".

Mitchell contracted polio at age nine and was hospitalized for weeks. She also started smoking that year, but denies that smoking has affected her voice.

She moved with her family to Saskatoon, which she considers her hometown, at age 11. Mitchell struggled at school; her main interest was painting. During this time she briefly studied classical piano. She focused on her creative talent and considered a singing or dancing career for the first time. One unconventional teacher, Arthur Kratzmann, made an impact on her, stimulating her to write poetry; her first album includes a dedication to him. She dropped out of school in grade 12 (resuming her studies later) and hung out downtown with a rowdy set until she decided that she was getting too close to the criminal world.

Mitchell wanted to play the guitar, but as her mother associated the instrument with country music and disapproved of its hillbilly associations, she initially settled for the ukulele. Eventually she taught herself guitar from a Pete Seeger songbook. Polio had weakened her left hand, so she devised alternative tunings to compensate; she later used these tunings to create nonstandard approaches to harmony and structure in her songwriting.

Mitchell started singing with her friends at bonfires around Waskesiu Lake, northwest of Prince Albert, Saskatchewan. She widened her repertoire to include her favourite performers, such as Édith Piaf and Miles Davis, at age 18. Her first paid performance was on October 31, 1962, at a Saskatoon club that featured folk and jazz performers. Although she never performed jazz herself in those days, Mitchell and her friends sought out gigs by jazz musicians. Mitchell said, "My jazz background began with one of the early Lambert, Hendricks and Ross albums." That album, The Hottest New Group in Jazz, was hard to find in Canada, she says, "so I saved up and bought it at a bootleg price. I considered that album to be my Beatles. I learned every song off of it, and I don't think there is another album anywhere—including my own—on which I know every note and word of every song."

After graduating from high school at Aden Bowman Collegiate in Saskatoon, Mitchell took art classes at the Saskatoon Technical Collegiate with abstract expressionist painter Henry Bonli and left home to attend the Alberta College of Art in Calgary for the 1963–64 school year. She felt disillusioned about the high priority given to technical skill over free-class creativity there, and felt out of step with the trend toward pure abstraction and the tendency to move into commercial art. She dropped out of school after a year at age 20, due to an unexpected pregnancy (with her daughter Kilauren). She then started playing music in the nightclubs of Canada.

Career

1964–1967: Career beginnings, motherhood, and first marriage

She continued to play gigs as a folk musician on weekends at her college and at a local hotel. Around this time she took a $15-a-week job in a Calgary coffeehouse called The Depression Coffee House, "singing long tragic songs in a minor key". She sang at hootenannies and made appearances on local TV and radio shows in Calgary. In 1964, at the age of 20, she told her mother that she intended to be a folk singer in Toronto. She left western Canada for the first time in her life, heading east for Ontario. Mitchell wrote her first song, "Day After Day", on the three-day train ride. She stopped at the Mariposa Folk Festival to see Buffy Sainte-Marie, an American folk singer who had inspired her. A year later, Mitchell played Mariposa, her first gig for a major audience, and years later Sainte-Marie herself covered Mitchell's work.

Lacking the $200 needed for musicians' union fees, Mitchell performed at a few gigs at the Half Beat and the Village Corner in Toronto's Yorkville neighbourhood, but she mostly played non-union gigs "in church basements and YMCA meeting halls". Rejected from major folk clubs, she resorted to busking, while she "worked in the women's wear section of a downtown department store to pay the rent." She lived in a rooming house, directly across the hall from poet Duke Redbird. Mitchell also began to realize each city's folk scene tended to accord veteran performers the exclusive right to play their signature songs—despite not having written the songs—which Mitchell found insular, contrary to the egalitarian ideal of folk music. She found her best traditional material was already other singers' property. She said she was told "'You can't sing that. That's my song.' And I named another one. 'You can't sing that. That's my song.' This is my introduction to territorial songs. I ran into it again in Toronto." She resolved to write her own songs.