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Don Juans Reckless Daughter CD

4.3 out of 5 stars 85 customer reviews

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Don Juan's Reckless Daughter
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Audio CD, CD, October 25, 1990
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Media Type: CD
Street Release Date: 07/07/1987
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Product Details

  • Audio CD (October 25, 1990)
  • Number of Discs: 1
  • Format: CD
  • Label: Elektra / Wea
  • ASIN: B000002GXG
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (85 customer reviews)
  • Amazon Best Sellers Rank: #166,608 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
I have loved this 1977 album ever since I first heard it, which was about 4 years ago. It has a very different feeling than the 1976 album "Hejira" or the 1979 "Mingus" album. Jaco Pastorius' bass lines and fills (often brief overdubs of several basses filling) are dominant on most of the album. I love how the bass harmonics and high-pitched fills meet and complement Joni Mitchell's vocal effects. The overture in this sense is chilling.
Jaco uses a very rich and unusual sound on his bass here. This is an absolute MUST-LISTEN for Jaco fans.
A lot of overdubbed voicings by Mitchell sneak in here and there. This had not been typical of her earlier albums, and is one of the elements which lends to the somewhat richer atmosphere than its precursors have. Another strength is of course the musicians. Mitchell is backed up by extraordinary artists here, most of whom are best known from jazz and/or jazz-fusion bands. In addition to Jaco, Wayne Shorter (on soprano sax,) drummer John Guerin, Alex Acu?a, Don Alias, Manolo Badrena, and Airto (all on percussion) also contribute. Guitarist Larry Carlton guests on "Otis and Marlena," and Chaka Kahn sings back-up on "The Tenth World" and "Dreamland." Joni plays guitar and piano equally on this album. Something that really distinguishes this from all her other 70's albums, is the 16+ minute "Paprika Plains;" it features (in addition to Joni's voice, piano, and the band) an orchestra conducted by Michael Gibbs. The mood of the whole recording is really special. I believe the cover art suits the feeling very well. There's an interesting combination of freedom and what's obviously arranged, as well as an interesting balance between gravity and humor. The performance is freer here than on "Hejira," but still strongly recommended to fans of that album and to people interested in enchanting musical performances and sounds.
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Format: Audio CD
It's not "Blue," or "The Hissing of Summer Lawns," it's better. But if you adore the cute folky love torn Joni of those days give this journey a chance. And if you've never heard anything by Joni buy this album. The musical compositions are beautiful, incorporating jazz and world beat sounds from some of the travels about which she sings. The lyrics are tight and equally poignant now as they were then ('77,) if not more. Joni has always been a writer who was not afraid to say what's on her mind. She explores love, racism, friendship, politics, and so much more, all from her very own and interesting perspective as a woman, a musician, an artist. Any American Woman who calls herself a lover of music must have this album in her collection. Jazz fans please don't let her ego-centric and pretentious comments of the day (about "progressive musicians not being progressive enough") detract from your appreciation of this work. Are we not allowed to make mistakes once in awhile? Was she really that far off base? The fact is this album is STILL progressive today and will be always while there are Britneys and Christinas running around getting all the magazine covers. You wanna hear a real woman sing and play? Someone reckless and polished at the same time? I dare you. And don't miss the wonderful singing of a young Chaka Khan. The perfect accompaniment of Wayne Shorter on sax. And the fabulous bass of Jaco Pastorius.
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Format: Audio CD
There is a lot to this album. First the cover: Joni in black male pimp drag. It's a character she played in a movie "Love" that was never released. (Her "Love" on Wild Things Run Fast was suggested by other contributors to the movie)
The whole format is done in a concerto style. Originally this was a 4 sided album. Side 1 held the main theme. Side 2 was the adagio, Paprika Plains. Side 3 was a theme-varie. Side 4 was a return to the main theme. Now on cd the whole musical landscape is uninterrupted. It should be remastered to bring out the full sound.
The title track is a continuation of Hejira with it's travel theme and just as she did on Hejira, she hid the melodies. It takes a few listenings to HEAR the music. There is a melody here and a message that culminates what she was saying on Hejira.
Paprika Plains is a full sonic adventure. It's never been appreciated, I think, because it's too far above most peoples' understanding. This is Joni the painter painting with music. Her improvised style piano on this piece is also what brought Charles Mingus to contact her and form their collaboration--He heard the painting!
And yes, she played around with "world" music and it became vogue with other artists--just like she was decried when she went full into jazz with the Mingus album and then a few years later when Sting did jazz, it was now cool.
Joni is that eagle that soars and sees all from above; and the snake that experiences the earth up close, first hand.
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Format: Audio CD
This album is generally considered to be Joni Mitchell's most daring, her most ambitious, and the one her fans are most opinionated about--you either love it or you hate it, but chances are, if you're a true fan of Joni's you can appreciate it on one level or another. As it stands, it's not nearly as good as some of her masterpieces, but it is a good, strange little album with some phenomenal moments. The highlights? "Talk to Me," which has some of Joni's best dark-humored lyrics. "Jericho," an embittered, cutting, almost wrenching song. "Paprika Plains," certainly the most ambitious song on the album (it's 16 minutes long and features a full symphony orchestra). "Otis and Marlena," which of all Joni's "decay of civilization songs" (see also "Harry's House," "Everything for Nothing," "The Arrangement," "Furry Sings the Blues," etc.) has one of her most inexpressibly beautiful melodies. And the final song on the album, "The Silky Veils of Ardor," is simply radiant and perfectly haunting; its simple, poetic lyric and gorgeous guitar playing are so pure and fine and sorrowful that they could feel right at home on BLUE. Other interesting moments on the album include "The Tenth World," an voodoo-like instrumental piece that has been perfectly described in a review as sounding like a Haitian exorcism. So, that said, DON JUAN never achieves the fullness that some of Joni's other albums have, like HEJIRA, BLUE, and THE HISSING OF SUMMER LAWNS, but it does have some very nice points and is worth checking out for anyone who calls himself a true Joni fan. (And yes, that is Joni herself on the controversial cover, dressed up like a black pimp.)
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