Joni Mitchell
Joni Mitchell

Celebrity Profile

Name: Joni Mitchell
Occupation: Folk Singer
Gender: Female
Height: 168 cm (5' 7'')
Birth Day: November 7, 1943
Age: 77
Birth Place: Fort Macleod, Canada
Zodiac Sign: Scorpio

Social Accounts

Height: 168 cm (5' 7'')
Weight: in kg - N/A
Eye Color: N/A
Hair Color: N/A
Blood Type N/A
Tattoo(s) N/A

Joni Mitchell

Joni Mitchell was born on November 7, 1943 in Fort Macleod, Canada (77 years old). Joni Mitchell is a Folk Singer, zodiac sign: Scorpio. Find out Joni Mitchellnet worth 2020, salary 2020 detail bellow.

Trivia

One of her most famous songs is "Big Yellow Taxi."

Net Worth

Net Worth 2020

$50 Million

Salary 2020

Not known

Joni Mitchell Real Estate

Real Estate: For many years, Joni's primary residence has been a large house in Bel Air, California. If this house hit the market, it would likely be worth $15 – $20 million.

Before Fame

She grew up without indoor plumbing or running water. Her songs like "Chelsea Morning" were covered by U.S. folk singers, giving Mitchell a foothold in the music industry.

Biography Timeline

1943

Mitchell was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Canada, the daughter of Myrtle Marguerite (McKee) and William Andrew Anderson. Her mother's ancestors were Scottish and Irish; her father was from a Norwegian family that possibly had some Sámi ancestry. Her mother was a teacher, while her father was a Royal Canadian Air Force flight lieutenant who instructed new pilots at RCAF Station Fort Macleod. She later moved with her parents to various bases in western Canada. After the end of World War II, her father began working as a grocer and her family moved to Saskatchewan, at first living in towns such as Maidstone and North Battleford before settling in the city of Saskatoon when Mitchell was 11 She later sang about her small-town upbringing in several of her songs, including "Song for Sharon".

1962

Mitchell started singing with her friends at bonfires around Waskesiu Lake, northwest of Prince Albert, Saskatchewan. Her first paid performance was on October 31, 1962, at a Saskatoon club that featured folk and jazz performers. At 18, she widened her repertoire to include her favorite performers, such as Édith Piaf and Miles Davis. 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."

1964

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 some 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, and she left western Canada for the first time in her life, heading east for Ontario. On the three-day train ride there, Mitchell wrote her first song, "Day After Day". She stopped at the Mariposa Folk Festival to see Buffy Sainte-Marie, a Saskatchewan-born Cree folk singer who had inspired her. A year later, Mitchell too played Mariposa, her first gig for a major audience, and years later Sainte-Marie herself covered Mitchell's work.

In late 1964, Mitchell discovered that she was pregnant by her Calgary ex-boyfriend Brad MacMath. She later wrote, "[He] left me three months pregnant in an attic room with no money and winter coming on and only a fireplace for heat. The spindles of the banister were gap-toothed—fuel for last winter's occupants." In February 1965, she gave birth to a baby girl. Unable to provide for the baby, she placed her daughter, Kelly Dale Anderson, for adoption. The experience remained private for most of Mitchell's career, although she alluded to it in several songs, such as "Little Green," which she performed in the 1960s and recorded eventually for the 1971 album Blue. In "Chinese Cafe", from the 1982 album Wild Things Run Fast, Mitchell sang, "Your kids are coming up straight / My child's a stranger / I bore her / But I could not raise her." These lyrics did not receive wide attention at the time.

1965

A few weeks after the birth of her daughter in February 1965, Mitchell was playing gigs again around Yorkville, often with a friend, Vicky Taylor, and was beginning to sing original material for the first time, written with her unique open tunings. In March and April she found work at the Penny Farthing, a folk club in Toronto. There she met New York City born American folk singer Charles Scott "Chuck" Mitchell, from Michigan. Chuck was immediately attracted to her and impressed by her performance, and he told her that he could get her steady work in the coffeehouses he knew in the United States.

Sometime in late April 1965, Mitchell left Canada for the first time; she traveled with Chuck Mitchell to the US, where the two began playing music together. Joni, 21 years old, married Chuck in an official ceremony in his hometown in June 1965 and took his surname. She said, "I made my dress and bridesmaids' dresses. We had no money... I walked down the aisle brandishing my daisies."

While living at the Verona apartments in Detroit's Cass Corridor, the spouses were regular performers at area coffee houses, including the Chess Mate on Livernois, near Six Mile Road; the Alcove bar, near Wayne State University; the Rathskeller, a restaurant on the campus of the University of Detroit; and the Raven Gallery in Southfield. She began playing and composing songs in alternative guitar tunings taught to her by a fellow musician, Eric Andersen, in Detroit. Oscar Brand featured her several times on his CBC television program Let's Sing Out in 1965 and 1966. The marriage and partnership of Joni and Chuck Mitchell ended with their divorce in early 1967, and she moved to New York City to follow her musical path as a solo artist. She played venues up and down the East Coast, including Philadelphia, Boston, and Fort Bragg, North Carolina. She performed frequently in coffeehouses and folk clubs and, by this time creating her own material, became well known for her unique songwriting and her innovative guitar style.

1967

Folk singer Tom Rush had met Mitchell in Toronto and was impressed with her songwriting ability. He took "Urge for Going" to the popular folk artist Judy Collins, but she was not interested in the song at the time, so Rush recorded it himself. Country singer George Hamilton IV heard Rush performing it and recorded a hit country version. Other artists who recorded Mitchell's songs in the early years were Buffy Sainte-Marie ("The Circle Game"), Dave Van Ronk ("Both Sides Now"), and eventually Judy Collins ("Both Sides Now", a top ten hit for her, and "Michael from Mountains", both included on her 1967 album Wildflowers). Collins also covered "Chelsea Morning", another recording that eclipsed Mitchell's own commercial success early on.

1968

While Mitchell was playing one night in the Gaslight South, a club in Coconut Grove, Florida, David Crosby walked in and was immediately struck by her ability and her appeal as an artist. He took her back to Los Angeles, where he set about introducing her and her music to his friends. Soon she was being managed by Elliot Roberts, who, after being urged by Buffy Sainte-Marie, had first seen her play in a Greenwich Village coffee house. He had a close business association with David Geffen. Roberts and Geffen were to have important influences on her career. Eventually she was signed to the Warners-affiliated Reprise label by talent scout Andy Wickham. Crosby convinced Reprise to let Mitchell record a solo acoustic album without the folk-rock overdubs in vogue at that time, and his clout earned him a producer's credit in March 1968, when Reprise released her debut album, known either as Joni Mitchell or Song to a Seagull.

Mitchell was also highly innovative harmonically in her early work (1966–72), incorporating modality, chromaticism, and pedal points. On her 1968 debut album Song to a Seagull, Mitchell used both quartal and quintal harmony in "Dawntreader" and quintal harmony in Seagull.

1969

Mitchell toured steadily to promote the LP. The tour helped create eager anticipation for Mitchell's second LP, Clouds, which was released in April 1969. This album contained Mitchell's own versions of some of her songs already recorded and performed by other artists: "Chelsea Morning", "Both Sides, Now", and "Tin Angel". The covers of both LPs, including a self-portrait on Clouds, were designed and painted by Mitchell, a blending of her painting and music that she continued throughout her career.

Mitchell has received nine Grammy Awards during her career (eight competitive, one honorary), the first in 1969 and the most recent in 2016. She received a Grammy Lifetime Achievement Award in 2002, with the citation describing her as "one of the most important female recording artists of the rock era" and "a powerful influence on all artists who embrace diversity, imagination and integrity".

1970

In March 1970, Clouds produced her first Grammy Award for Best Folk Performance. The following month, Reprise released her third album, Ladies of the Canyon. Mitchell's sound was already beginning to expand beyond the confines of acoustic folk music and toward pop and rock, with more overdubs, percussion, and backing vocals, and for the first time, many songs composed on piano, which became a hallmark of Mitchell's style in her most popular era. Her own version of "Woodstock", slower than the cover by Crosby, Stills, Nash & Young, was performed solo on a Wurlitzer electric piano. The album also included the already-familiar song "The Circle Game" and the environmental anthem "Big Yellow Taxi", with its now-famous line, "they paved paradise and put up a parking lot."

1971

Ladies of the Canyon was an instant smash on FM radio and sold briskly, eventually becoming Mitchell's first gold album (selling over a half million copies). She made a decision to stop touring for a year and just write and paint, yet she was still voted "Top Female Performer" for 1970 by Melody Maker, a leading UK pop music magazine. On the April 1971 release of James Taylor's Mud Slide Slim and the Blue Horizon album, Mitchell is credited with backup vocals on the track "You've Got a Friend". The songs she wrote during the months she took off for travel and life experience appeared on her next album, Blue, released in June 1971. Comparing Joni Mitchell's talent to his own, David Crosby said, "By the time she did Blue, she was past me and rushing toward the horizon".

1972

Mitchell decided to return to the live stage after the great success of Blue, and she presented new songs on tour which appeared on her next album, her fifth, For the Roses. The album was released in October 1972 and immediately zoomed up the charts. She followed with the single, "You Turn Me On, I'm a Radio", which peaked at No. 25 in the Billboard Charts in February 1973.

1974

Court and Spark, released in January 1974, saw Mitchell begin the flirtation with jazz and jazz fusion that marked her experimental period ahead. Court and Spark went to No. 1 on the Cashbox Album Charts. The LP made Mitchell a widely popular act for perhaps the only time in her career, on the strength of popular tracks such as the rocker "Raised on Robbery", which was released right before Christmas 1973, and "Help Me", which was released in March of the following year, and became Mitchell's only Top 10 single when it peaked at No. 7 in the first week of June. "Free Man in Paris" was another hit single and staple in her catalog.

While recording Court and Spark, Mitchell had tried to make a clean break with her earlier folk sound, producing the album herself and employing jazz/pop fusion band the L.A. Express as what she called her first real backing group. In February 1974, her tour with the L.A. Express began, and they received rave notices as they traveled across the United States and Canada during the next two months. A series of shows at L.A.'s Universal Amphitheater on August 14–17 were recorded for a live album. In November, Mitchell released that album, Miles of Aisles, a two-record set including all but two songs from the L.A. concerts (one selection each from the Berkeley Community Theatre, on March 2, and the L.A. Music Center, on March 4, were also included in the set). The live album slowly moved up to No. 2, matching Court and Spark's chart peak on Billboard. "Big Yellow Taxi", the live version, was also released as a single and did reasonably well (she released another version of the song in 2007).

In mid-1977, Mitchell began work on new recordings that became her first double studio album. Close to completing her contract with Asylum Records, Mitchell felt that this album could be looser in feel than any album she'd done in the past. She invited Pastorius back, and he brought with him fellow members of jazz fusion pioneers Weather Report, including drummer Don Alias and saxophonist Wayne Shorter. Layered, atmospheric compositions such as "Overture/Cotton Avenue" featured more improvisatory collaboration, while "Paprika Plains" was a 16-minute epic that stretched the boundaries of pop, owing more to Mitchell's memories of childhood in Canada and her study of classical music. "Dreamland" and "The Tenth World", featuring Chaka Khan on backing vocals, were percussion-dominated tracks. Other songs continued the jazz-rock-folk collisions of Hejira. Mitchell also revived "Jericho", written years earlier (a version is found on her 1974 live album) but never recorded in a studio setting.

1975

In January 1975, Court and Spark received four nominations for Grammy Awards, including Grammy Award for Album of the Year, for which Mitchell was the only woman nominated. She won only the Grammy Award for Best Arrangement, Instrumental and Vocals.

Mitchell went into the studio in early 1975 to record acoustic demos of some songs that she had written since the Court and Spark tour. A few months later she recorded versions of the tunes with her band. Her musical interests were now diverging from both the folk and the pop scene of the era, toward less structured, more jazz-inspired pieces, with a wider range of instruments. The new song cycle was released in November 1975 as The Hissing of Summer Lawns. On "The Jungle Line", she made an early effort at sampling a recording of African musicians, something that became more commonplace among Western rock acts in the 1980s. "In France They Kiss on Main Street" continued the lush pop sounds of Court and Spark, and efforts such as the title song and "Edith and the Kingpin" chronicled the underbelly of suburban lives in Southern California.

During 1975, Mitchell also participated in several concerts in the Rolling Thunder Revue tours featuring Bob Dylan and Joan Baez, and in 1976 she performed as part of The Last Waltz by the Band. In January 1976, Mitchell received a nomination for the Grammy Award for Best Female Pop Vocal Performance for the album The Hissing of Summer Lawns, though the Grammy went to Linda Ronstadt.

1976

In early 1976, Mitchell traveled with friends who were driving cross country to Maine. Afterwards, she drove back to California alone and composed several songs during her journey which featured on her next album, 1976's Hejira. She stated that "This album was written mostly while I was traveling in the car. That's why there were no piano songs ..." Hejira was arguably Mitchell's most experimental album so far, due to her ongoing collaborations with jazz virtuoso bass guitarist Jaco Pastorius on several songs, namely the first single, "Coyote", the atmospheric "Hejira", the disorienting, guitar-heavy "Black Crow", and the album's last song "Refuge of the Roads". The album climbed to No. 13 on the Billboard Charts, reaching gold status three weeks after release, and received airplay from album oriented FM rock stations. Yet "Coyote", backed with "Blue Motel Room", failed to chart on the Hot 100. Hejira "did not sell as briskly as Mitchell's earlier, more "radio-friendly" albums, [but] its stature in her catalogue has grown over the years". Mitchell herself believes the album to be unique. In 2006 she said, "I suppose a lot of people could have written a lot of my other songs, but I feel the songs on Hejira could only have come from me."

1977

Don Juan's Reckless Daughter was released in December 1977. The album received mixed reviews but still sold relatively well, peaking at No. 25 in the US and going gold within three months. The cover of the album created its own controversy: Mitchell was featured in several photographs, including one where she was in blackface, wearing a curly afro wig, a white suit and vest, and dark sunglasses. The character, whom she called Art Nouveau, was based on a pimp who, she says, once complimented her while walking down an LA street – and was a symbol of her turn toward jazz and streetwise lyrics.

1979

A few months after the release of Don Juan's Reckless Daughter, Mitchell was contacted by the esteemed jazz composer, bandleader and bassist Charles Mingus, who had heard the orchestrated song "Paprika Plains", and wanted her to work with him. She began a collaboration with Mingus, who died before the project was completed in 1979. She finished the tracks, and the resulting album, Mingus, was released in June 1979, though it was poorly received in the press. Fans were confused over such a major change in Mitchell's overall sound, and though the album topped out at No. 17 on the Billboard album charts—a higher placement than Don Juan's Reckless Daughter—Mingus still fell short of gold status, making it her first album since the 1960s to not sell at least a half-million copies.

Mitchell's tour to promote Mingus began in August 1979 in Oklahoma City and concluded six weeks later with five shows at Los Angeles' Greek Theatre and one at the Santa Barbara County Bowl, where she recorded and filmed the concert. It was her first tour in several years, and with Pastorius, jazz guitarist Pat Metheny, and other members of her band, Mitchell also performed songs from her other jazz-inspired albums. When the tour ended she began a year of work, turning the tapes from the Santa Barbara County Bowl show into a two-album set and a concert film, both to be called Shadows and Light. Her final release on Asylum Records and her second live double-album, it was released in September 1980, and made it up to No. 38 on the Billboard Charts. A single from the LP, "Why Do Fools Fall in Love?", Mitchell's duet with The Persuasions (her opening act for the tour), bubbled under on Billboard, just missing the Hot 100.

1981

Mitchell's home country of Canada has bestowed several honours on her. She was inducted into the Canadian Music Hall of Fame in 1981 and received the Governor General's Performing Arts Award for Lifetime Artistic Achievement, Canada's highest honour in the performing arts, in 1996. Mitchell received a star on Canada's Walk of Fame in 2000. In 2002 she became only the third popular Canadian singer-songwriter (Gordon Lightfoot and Leonard Cohen being the other two), to be appointed a Companion of the Order of Canada, Canada's highest civilian honour. She received an honorary doctorate in music from McGill University in 2004. In January 2007 she was inducted into the Canadian Songwriters Hall of Fame. The Saskatchewan Recording Industry Association bestowed upon Joni their Lifetime Achievement Award in 1993. In June 2007 Canada Post featured Mitchell on a postage stamp.

1982

During this period she recorded with bassist and sound engineer Larry Klein, whom she married in 1982 (the marriage lasted 12 years).

1983

In early 1983, Mitchell began a world tour, visiting Japan, Australia, Ireland, the United Kingdom, Belgium, France, Germany, Italy and Scandinavia and then going back to the United States. A performance from the tour was videotaped and later released on home video (and later DVD) as Refuge of the Roads. As 1984 ended, Mitchell was writing new songs, when she received a suggestion from Geffen that perhaps an outside producer with experience in the modern technical arenas that they wanted to explore might be a worthy addition. British synthpop performer and producer Thomas Dolby was brought on board. Of Dolby's role, Mitchell later commented: "I was reluctant when Thomas was suggested because he had been asked to produce the record [by Geffen], and would he consider coming in as just a programmer and a player? So on that level we did have some problems ... He may be able to do it faster. He may be able to do it better, but the fact is that it then wouldn't really be my music."

1985

The album that resulted, Dog Eat Dog, released in October 1985, turned out to be only a moderate seller, peaking at No. 63 on Billboard's Top Albums Chart, Mitchell's lowest chart position since her first album peaked at No. 189 almost eighteen years before. One of the songs on the album, "Tax Free", created controversy by lambasting "televangelists" and what she saw as a drift to the religious right in American politics. "The churches came after me", she wrote, "they attacked me, though the Episcopalian Church, which I've seen described as the only church in America which actually uses its head, wrote me a letter of congratulation."

1990

In 1990, Mitchell, who by then rarely performed live anymore, participated in Roger Waters' The Wall Concert in Berlin. She performed the song "Goodbye Blue Sky" and was also one of the performers on the concert's final song "The Tide Is Turning" along with Waters, Cyndi Lauper, Bryan Adams, Van Morrison and Paul Carrack.

1991

Throughout the first half of 1990, Mitchell recorded songs that appeared on her next album. She delivered the final mixes for the new album to Geffen just before Christmas, after trying nearly a hundred different sequences for the songs. The album Night Ride Home was released in March 1991. In the United States, it premiered on Billboard's Top Album charts at No. 68, moving up to No. 48 in its second week, and peaking at No. 41 in its sixth week. In the United Kingdom, the album premiered at No. 25 on the album charts. Critically, it was better received than her 1980s work and seemed to signal a move closer to her acoustic beginnings, along with some references to the style of Hejira. This album was also Mitchell's first since Geffen Records was sold to MCA Inc., meaning that Night Ride Home was her first album not to be initially distributed by WEA (now Warner Music Group).

Several artists have had success covering Mitchell's songs. Judy Collins's 1967 recording of "Both Sides, Now" reached No. 8 on Billboard charts and was a breakthrough in the career of both artists (Mitchell's own recording did not see release until two years later, on her second album Clouds). This is Mitchell's most-covered song by far, with over 1,200 versions recorded at latest count. Hole also covered "Both Sides, Now" in 1991 on their debut album, Pretty on the Inside, retitling it "Clouds", with the lyrics altered by frontwoman Courtney Love. Pop group Neighborhood in 1970 and Amy Grant in 1995 scored hits with covers of "Big Yellow Taxi", the third-most covered song in Mitchell's repertoire (with over 300 covers). Recent releases of this song have been by Counting Crows in 2002 and Nena in 2007. Janet Jackson used a sample of the chorus of "Big Yellow Taxi" as the centerpiece of her 1997 hit single "Got 'Til It's Gone", which also features rapper Q-Tip saying "Joni Mitchell never lies". "River", from Mitchell's album Blue became the second-most covered song of Mitchell's in 2013 as many artists chose it for their holiday albums. Rap artists Kanye West and Mac Dre have also sampled Mitchell's vocals in their music. In addition, Annie Lennox has covered "Ladies of the Canyon" for the B-side of her 1995 hit "No More I Love You's". Mandy Moore covered "Help Me" in 2003. In 2004 singer George Michael covered her song "Edith and the Kingpin" for a radio show. "River" has been one of the most popular songs covered in recent years, with versions by Dianne Reeves (1999), James Taylor (recorded for television in 2000, and for CD release in 2004), Allison Crowe (2004), Rachael Yamagata (2004), Aimee Mann (2005), and Sarah McLachlan (2006). McLachlan also did a version of "Blue" in 1996, and Cat Power recorded a cover of "Blue" in 2008. Other Mitchell covers include the famous "Woodstock" by Crosby, Stills, Nash and Young, Eva Cassidy, and Matthews Southern Comfort; "This Flight Tonight" by Nazareth; and well-known versions of "A Case of You" by Tori Amos, Michelle Branch, Jane Monheit, Prince, Diana Krall, James Blake, and Ana Moura. A 40th anniversary version of "Woodstock" was released in 2009 by Nick Vernier Band featuring Ian Matthews (formerly of Matthews Southern Comfort). Fellow Canadian singer k.d. lang recorded two of Mitchell's songs ("A Case of You" and "Jericho") for her 2004 album Hymns of the 49th Parallel which is composed entirely of songs written by Canadian artists.

1995

In 1995, Mitchell's friend Fred Walecki, proprietor of Westwood Music in Los Angeles, developed a solution to alleviate her continuing frustration with using multiple alternative tunings in live settings. Walecki designed a Stratocaster-style guitar to function with the Roland VG-8 virtual guitar, a system capable of configuring her numerous tunings electronically. While the guitar itself remained in standard tuning, the VG-8 encoded the pickup signals into digital signals which were then translated into the altered tunings. This allowed Mitchell to use one guitar on stage, while an off-stage tech entered the preprogrammed tuning for each song in her set.

In 1995, Mitchell received Billboard's Century Award. In 1996, she was awarded the Polar Music Prize. In 1997, Mitchell was inducted into the Rock and Roll Hall of Fame, but did not attend the ceremony.

1996

In 1996, Mitchell agreed to release a greatest Hits collection when label Reprise also allowed her a second album, called Misses, to include some of the lesser known songs from her career. Hits charted at No. 161 in the US, but made No. 6 in the UK. Mitchell also included on Hits, for the first time on an album, her first recording, a version of "Urge for Going" which preceded Song to a Seagull but was previously released only as a B-side.

1997

The existence of Mitchell's daughter was not publicly known until 1993, when a roommate from Mitchell's art-school days in the 1960s sold the story of the adoption to a tabloid magazine. By that time, Mitchell's daughter, renamed Kilauren Gibb, had already begun a search for her biological parents. Mitchell and her daughter met in 1997. After the reunion, Mitchell said that she lost interest in songwriting, and she later identified her daughter's birth and her inability to take care of her as the moment when her songwriting inspiration had really begun. When she could not express herself to the person she wanted to talk to, she became attuned to the whole world, and she began to write personally.

1998

In the early 1990s, Mitchell signed a deal with Random House to publish an autobiography. In 1998 she told The New York Times that her memoirs were "in the works", that they would be published in as many as four volumes, and that the first line would be "I was the only black man at the party." In 2005, Mitchell said that she was using a tape recorder to get her memories "down in the oral tradition".

2000

In tribute to Mitchell, the TNT network presented an all-star celebration at the Hammerstein Ballroom in New York City on April 6, 2000. Mitchell's songs were sung by many performers, including James Taylor, Elton John, Wynonna Judd, Bryan Adams, Cyndi Lauper, Diana Krall, and Richard Thompson. Mitchell herself ended the evening with a rendition of "Both Sides, Now" with a 70-piece orchestra. The version was featured on the soundtrack to the movie Love Actually.

2002

Mitchell stated at the time that Travelogue would be her final album. In a 2002 interview with Rolling Stone, she voiced discontent with the current state of the music industry, describing it as a "cesspool". Mitchell expressed her dislike of the record industry's dominance and her desire to control her own destiny, possibly by releasing her own music over the Internet.

2003

During the next few years, the only albums Mitchell released were compilations of her earlier work. In 2003, her Geffen recordings were collected in a remastered four-disc box set, The Complete Geffen Recordings, including notes by Mitchell and three previously unreleased tracks. A series of themed compilations of songs from earlier albums were also released: The Beginning of Survival (2004), Dreamland (2004), and Songs of a Prairie Girl (2005), the last of which collected the threads of her Canadian upbringing and which she released after accepting an invitation to the Saskatchewan Centennial concert in Saskatoon. The concert, which featured a tribute to Mitchell, was also attended by Queen Elizabeth II. In the Prairie Girl liner notes, she writes that the collection is "my contribution to Saskatchewan's Centennial celebrations".

In 2003 Rolling Stone named her the 72nd greatest guitarist of all time; she was the highest-ranked woman on the list.

In 2003, playwright Bryden MacDonald launched When All the Slaves Are Free, a musical revue based on Mitchell's music.

2004

It was around this time that critics also began to notice a real change in Mitchell's voice, particularly on her older songs; the singer later admitted to feeling the same way, explaining that "I'd go to hit a note and there was nothing there". While her more limited range and huskier vocals have sometimes been attributed to her smoking (she was described by journalist Robin Eggar as "one of the world's last great smokers"), Mitchell believes that the changes in her voice that became noticeable in the 1990s were due to other problems, including vocal nodules, a compressed larynx, and the lingering effects of having had polio. In an interview in 2004, she denied that "my terrible habits" had anything to do with her more limited range and pointed out that singers often lose the upper register when they pass fifty. In addition, she contended that in her opinion her voice became a more interesting and expressive alto range when she could no longer hit the high notes, let alone hold them like she did in her youth.

Maynard James Keenan of the American progressive rock band Tool has cited Mitchell as an influence, claiming that her influence is what allows him to "soften [staccato, rhythmic, insane mathematical paths] and bring [them] back to the center, so you can listen to it without having an eye-ache." A Perfect Circle, another band featuring Keenan as lead vocalist, recorded a rendition of Mitchell's "The Fiddle and the Drum" on their 2004 album eMOTIVe, a collection of anti-war cover songs.

2006

Although Mitchell stated that she would no longer tour or give concerts, she has made occasional public appearances to speak on environmental issues. Mitchell divides her time between her longtime home in Los Angeles, and the 80-acre (32 ha) property in Sechelt, British Columbia, that she has owned since the early 1970s. "L.A. is my workplace", she said in 2006, "B.C. is my heartbeat". According to interviews, today she focuses mainly on her visual art, which she does not sell and displays only on rare occasions.

In an interview with the Ottawa Citizen in October 2006, Mitchell "revealed that she was recording her first collection of new songs in nearly a decade", but gave few other details. Four months later, in an interview with The New York Times, Mitchell said that the forthcoming album, titled Shine, was inspired by the war in Iraq and "something her grandson had said while listening to family fighting: 'Bad dreams are good—in the great plan.'" Early media reports characterized the album as having "a minimal feel ... that harks back to [Mitchell's] early work" and a focus on political and environmental issues.

2007

In February 2007, Mitchell returned to Calgary and served as an advisor for the Alberta Ballet Company premiere of "The Fiddle and the Drum", a dance choreographed by Jean Grand-Maître to both new and old songs. She worked with the French-Canadian TV director Mario Rouleau, well known for work in art and dance for television, such as Cirque du Soleil. She also filmed portions of the rehearsals for a documentary that she is working on. Of the flurry of recent activity she quipped, "I've never worked so hard in my life."

In mid-2007, Mitchell's official fan-run site confirmed speculation that she had signed a two-record deal with Starbucks' Hear Music label. Shine was released by the label on September 25, 2007, debuting at number 14 on the Billboard 200 album chart, her highest chart position in the United States since the release of Hejira in 1976, over thirty years previously, and at number 36 on the United Kingdom albums chart.

2008

On the same day, Herbie Hancock, a longtime associate and friend of Mitchell, released River: The Joni Letters, an album paying tribute to Mitchell's work. Among the album's contributors were Norah Jones, Tina Turner, Leonard Cohen, and Mitchell herself, who contributed a vocal to the re-recording of "The Tea Leaf Prophecy (Lay Down Your Arms)" (originally on her album Chalk Mark in a Rain Storm). On February 10, 2008, Hancock's recording won Album of the Year at the Grammy Awards. It was the first time in 43 years that a jazz artist took the top prize at the annual award ceremony. In accepting the award, Hancock paid tribute to Mitchell as well as to Miles Davis and John Coltrane. At the same ceremony Mitchell won a Grammy for Best Instrumental Pop Performance for the opening track, "One Week Last Summer", from her album Shine.

In 2008, Mitchell was ranked 42nd on Rolling Stone's "100 greatest singers" list and in 2015 she was ranked ninth on their list of the 100 Greatest Songwriters of All Time.

2010

In a 2010 interview with the Los Angeles Times, Mitchell was quoted as saying that singer-songwriter Bob Dylan, with whom she had worked closely in the past, was a fake and a plagiarist. The controversial remark was widely reported by other media. Mitchell did not explain the contention further, but several media outlets speculated that it may have related to the allegations of plagiarism surrounding some lyrics on Dylan's 2006 album Modern Times. In a 2013 interview with Jian Ghomeshi, she was asked about the comments and responded by denying that she had made the statement while mentioning the allegations of plagiarism that arose over the lyrics to Dylan's 2001 album Love and Theft in the general context of the flow and ebb of the creative process of artists.

Mitchell has said that she has Morgellons syndrome, and in 2010 said she planned to leave the music industry to work toward giving more credibility to people diagnosed with Morgellons.

On February 12, 2010, "Both Sides, Now" was performed at the 2010 Winter Olympics opening ceremony in Vancouver.

2013

Mitchell's approach to music struck a chord with many female listeners. In an era dominated by the stereotypical male rock star, she presented herself as "multidimensional and conflicted ... allow[ing] her to build such a powerful identification among her female fans". Mitchell asserted her desire for artistic control throughout her career, and still holds the publishing rights for her music. She has disclaimed the notion that she is a "feminist"; in a 2013 interview she rejected the label, stating, "I'm not a feminist. I don't want to get a posse against men. I'd rather go toe-to-toe; work it out." David Shumway notes that Mitchell "became the first woman in popular music to be recognized as an artist in the full sense of that term.... Whatever Mitchell's stated views of feminism, what she represents more than any other performer of her era is the new prominence of women's perspectives in cultural and political life."

2015

In 2015, Mitchell suffered a brain aneurysm rupture, which required her to undergo physical therapy, and take part in daily rehabilitation. Mitchell made her first public appearance following the aneurysm when she attended a Chick Corea concert in Los Angeles in August 2016. She has made a few other appearances, and in November 2018, David Crosby said that she was learning to walk again. On November 7, 2018 Mitchell attended Both Sides Now – Joni 75, a Birthday Celebration in Los Angeles. To celebrate her 75th birthday a select group of artists, among them James Taylor, Graham Nash, Seal and Kris Kristofferson, interpreted songs written by Mitchell.

Due to health problems she could not attend the San Francisco gala in May 2015 to receive the SFJAZZ Lifetime Achievement Award.

2018

In 2018, Mitchell was honoured by the city of Saskatoon, when two plaques were erected to commemorate her musical beginnings in Saskatoon. One was installed by the Broadway Theatre beside the former Louis Riel Coffee House, where Mitchell played her first paid gig. A second plaque was installed at River Landing, near the Remai Modern art gallery and Persephone Theatre performing arts centre. As well, the walkway along Spadina Crescent between Second and Third Avenues was formally named the Joni Mitchell Promenade.

2019

On June 25, 2019, The New York Times Magazine listed Joni Mitchell among hundreds of artists whose master tape recordings were reportedly destroyed in the 2008 Universal fire. A five-disc collection of archived material, Joni Mitchell Archives – Vol. 1: The Early Years (1963–1967) was released in 2020.

2020

In 2020, Mitchell received the Les Paul Award, becoming the first woman to do so.

Family Life

Joni got married to Chuck Mitchell in 1965; after their separation in 1966, she married Larry Klein on November 21, 1982.

🎂 Upcoming Birthday

Currently, Joni Mitchell is 78 years, 7 months and 21 days old. Joni Mitchell will celebrate 79th birthday on a Monday 7th of November 2022. Below we countdown to Joni Mitchell upcoming birthday.

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68th birthday - Monday, November 7, 2011

Happy Birthday Joni Mitchell

“I learned a woman is never an old woman.” Joni Mitchell is 68 today. Her recent years have been plagued by

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67th birthday - Sunday, November 7, 2010

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Happy 67th birthday to Mark Isham - facebook.com/markishamofficial

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