Joni Mitchell releases ‘Mingus,’ a collaboration album with Charles Mingus (1979)

Joni Mitchell’s ‘Mingus’ is her tenth studio album recorded in collaboration with Charles Mingus and released on June 13, 1979 by Asylum.


Joni Mitchell releases ‘Mingus,’ a collaboration album with Charles Mingus (1979)

1 . The Dry Cleaner from Des Moines

2 . God Must Be A Boogie Man (London 1983)

Track Listing : 1.Happy Birthday 1975 (Rap) (Joni Mitchell) – 0:57 . 2.God Must Be A Boogie Man (Joni Mitchell) – 04:35 . 3.Funeral (Rap) (Joni Mitchell) – 01:07 . 4.A Chair In The Sky (Charles Mingus) – 06:42 . 5.The Wolf That Lives In Lindsey (Joni Mitchell) – 06:35 . 6.I’S A Muggin’ (Rap) (Joni Mitchell) – 00:07 . 7.Sweet Sucker Dance (Charles Mingus) – 08:04 . 8.Coin In The Pocket (Rap) (Joni Mitchell) – 00:11 . 9.The Dry Cleaner From Des Moines (Charles Mingus) – 03:21 . 10.Lucky (Rap) (Joni Mitchell) – 00:04 . 11.Goodbye Pork Pie Hat (Charles Mingus) – 05:37

Musicians : Joni Mitchell – Guitar, Vocals . Jaco Pastorius – Bass, Horn Arrangement On “The Dry Cleaner From Des Moines” . Wayne Shorter – Soprano Saxophone . Herbie Hancock – Electric Piano . Peter Erskine – Drums . Don Alias – Congas . Emil Richards – Percussion

Production : Produced By Joni Mitchell . Steve Katz – Mixing . Henry Lewy – Engineer, Mixing . Bernie Grundman – Mastering

Package : Glen Christensen – Art Direction . Joni Mitchell – painting

Recorded 1978-1979 At A&M Studios, Hollywood And Electric Lady Studios, New York.

Released On June 13, 1979 By Asylum.

 Joni Mitchell


Rolling Stone
“Goodbye Pork Pie Hat,” with Mitchell’s lyrics based on the original solos as well as the melody, retains the Mingus flavor, but the bulk of Mingus could pass for pure Joni Mitchell. I doubt that Charles Mingus would have wanted it any other way. […]

More importantly, it shook Mitchell from a three-month long writer’s block/drought — yielding two of her best late-’70s compositions: …. […]

I really love this album. Did you read ever read the liner notes to Mingus or many other Mitchell interviews? She says that she found Jaco a thrill to work with because other bass players are constantly trying to put “white picket fences” on her music — root-five — and Jaco didn’t do that at all. […]


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