Joni Mitchell as an inspiration and ultra-cool chamber jazz

Herbie Hancock is a musician most convincing when he lets it rip properly (as in his great early work "Headhunters") or if its ability to most economical, cool piano playing cultivated properly. Here latter succeeds wonderfully - no Joni Mitchell-cover album (this are the pieces often too far away from the originals), but not unimaginative tribute.

Norah Jones shows in the first piece, a wonderfully slow and the jazz-rock tooting the 70 liberated version of "Court And Spark" that the harmonies and themes of Mitchell are absolutely timeless. The song works perfectly even without the smooth arrangements of the original. And the hesitant, restrained vocals by Jones - but if they would have the courage to interpret only on their own albums!

Tina Turner is a strong and harsh interpretation of "Edith And The Kingpin" that they may be more than the rock voice. Striking here the very subdued rhythmic motif of the accompaniment, first formed by a delay and then taken over by sovereign drummer Vinnie Colaiuta and integrated into the song. Not at all inconspicuous and bassist Dave Holland - varied it performs the intricate harmonies with his so low reaching bass that most listeners with normal stereos these sounds probably guessed more than heard.

After Hancock takes over as the "King of Cool" himself the scepter and controls with a tense and harmonically intricate series of modulations known folk of "Both Sides Now" from the early phase of Mitchell in music very deep water. With Wayne Shorter on saxophone this amazing interpretation goes far out over the original and creates an intensity and tension, which reached Mitchell with other agents 40 years ago. So concentrated and behave grooving game of small jazz band I heard recently from Julia Hülsmann Trio, at their outstanding interpretations of pop standards many remembered here.

Outstanding also the theme song "River", one of the finest pieces of Mitchells her album "Blue". As Corinne Bailey Rae, the band performs here with their singing in an intense groove that still gives this song more depth and excitement - that is unique. This album produced by supercooled approach which inspired interplay of the musicians and the absence of any clichés a stimulating, varied voltage to the last track, the urgent need for stripped-version of "Jungle Line" with Leonard Cohen as a speaker / singer.

And so here they all have their joy: The coming of Pop fans of Mitchell about what is made possible here by jazz musicians of variety and art of interpretation. And the fans of jazz and Hancock experience an outstanding jazz album with musical templates that invite to the discovery of extensive and varied work of Joni outright.