1. In France They Kiss On Main Street
2. Edith And The King Pin
3. Coyote			play
4. Free Man In Paris
5. Goodbye Pork Pie Hat
6. Jaco's Solo
7. The High And The Mighty
8. Third Stone From The Sun
9. Dry Cleaner From Des Moines
10. Amelia
11. Hejira
12. Black Crow
13. Furry Sings The Blues	play
14. Raised On Robbery
15. Why Do Fools Fall In Love
16. Shadows And Lights

Line-Up:
Joni Mitchell - electric guitar, vocals
Pat Metheny - lead guitar
Jaco Pastorius - bass
Don Alias - drums
Lyle Mays - keyboards
Michael Brecker - saxophone
The Persuasions - backing vocals 

Joni Mitchell's 1970s and '80s forays into jazzier territory may have distressed her folkie faithful, but they also resulted in some uncompromising, challenging, and, yes, entertaining music. Witness this 73-minute document from her '79 tour, which finds her backed by her greatest band ever, including guitarist Pat Metheny and the extraordinary bassist Jaco Pastorius, as well as Metheny cohort Lyle Mays (keyboards), Michael Brecker (sax), and Don Alias (drums). Mitchell's The Hissing of Summer Lawns-Hejira-Mingus period is heavily favored; there are two tunes from Court and Spark, but nothing earlier. It's not perfect--the film clips edited into the live tracks (at Mitchell's direction) are an annoying distraction (Rebel Without a Cause? Huh?). But by the time Mitchell, Mays, and vocal group the Persuasions finish a spine-tingling version of the title song, you'll have witnessed something special--and historic, as this was the only time this stellar crew toured together. --Sam Graham

Although this incredible live unit never recorded a proper studio album we do have this as a reminder of just what is possible. Joni the folkie briefly became Ms. Mitchell the jazz singer, supported by the formidable talents of Pat Metheny, Lyle Mays, Jaco Pastorius, Michael Brecker and Don Alias. Many of Mitchell's jazz flirtations are given the full treatment with musicians who understood both her and the genre. It is a staggering marriage of talents and wholly successful. There are even obligatory bonus solos from Pat and Don. They should have stayed together for at least another album.

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A1		Coyote	5:00
A2		Amelia	6:00
A3		Furry Sings The Blues	5:03
A4		A Strange Boy	4:15
A5		Hejira	6:35
B1		Song For Sharon	8:30
B2		Black Crow	4:20
B3		Blue Motel Room	5:03
B4		Refuge Of The Roads	6:37

Acoustic Guitar – Larry Carlton (tracks: B3)
Bass – Jaco Pastorius (tracks: A5, B2, B4)
Bass – Max Bennett (tracks: A3)
Drums – John Guerin (tracks: B1 to B4)
Guitar, Vocals – Joni Mitchell
Harmonica – Neil Young (tracks: A3)
Horns – Chuck Findley, Tom Scott (tracks: B4)
Lead Guitar – Larry Carlton (tracks: A1 to A4, B2)
Percussion – Bobbye Hall (tracks: A1, A4, A5)
Vibraphone – Victor Feldman (tracks: A2)

Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen. --- David Cleary, AllMusic Review

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