It's her first serious collaboration with anyone since Charles Mingus in 1978 and she's loving every minute. Joni is in the Hotel Arts in Calgary, Alberta, a few days before the world premiere of The Fiddle and the Drum, a ballet of ten Mitchell songs choreographed by Jean Grand-Maitre, the Artistic Director of the Alberta Ballet. She looks just like Joni Mitchell should look, obviously a little more lined than on the cover of Hejira but nowhere near 63 (Both her parents are going strong in their nineties). The song is Shine, the putative title track of an album that was never meant to be since in 2002 Joni announced her absolute final retirement with a stiletto sharp attack on the record business. A barely touched glass of red wine sits next to a bowl of cooling soup. Joni Mitchell is lost in her own music, eyes closed, head still, an American Spirit smoldering between her fingers. "I kept my legs crossed but here it came." The authoritative record of NPR’s programming is the audio record.Five years ago she retired from making music but now -thanks to a voice doctor, a contempt for the status quo and a desire to avenge her critics - Joni Mitchell is working on a new record. This text may not be in its final form and may be updated or revised in the future. NPR transcripts are created on a rush deadline by an NPR contractor. Visit our website terms of use and permissions pages at for further information. Our reviewer is Chris Nickson.Ĭopyright © 2006 NPR. NORRIS: The new album from Albert Kuvezin and Yat-Kha is called Re-Covers. And Albert Kuvezin and Yat-Kha make sure you'll never think of them the same way again. You may recognize a lot of the pieces on the Re-Covers, but one thing's for certain, you've never heard them performed like this. Kuvezin's draw through the past is as loving as it is original. Here he's as happy romping through material by Hank Williams as he is with Motorhead, Bob Marley or even tweaking the easy listening of Paul Moriarty. As a young man in Tuva, he consumed Western music from the Rolling Stones to Led Zeppelin and Captain Beefheart. NICKSON: Kuvezin's tastes are certainly eclectic. KUVEZIN: (Tuvan singing) Why is the bedroom so cold, turned away on your side? Is my timing that flawed, our respect run so dry? Yet there's still this appeal that we've kept through our lives. (Soundbite of music, “Love Will Tear Us Apart”) In Kuvezin's case the deep base tones, called cagira, groaning and haunted, whose effect can be fully heard on this version Joy Division's ode to bleakness, Love Will Tear Us Apart. The singer forces air through this throat producing notes that sometimes seem more than human.
#Tuvan throat singing soundbyte full#
Overtone, or throat singing, is a traditional central Asian art that's found its full flowering in Tuva. NICKSON: The arrangements are eccentric, but it's Kuvezin's voice that's the true power of this disc. Don't turn your back on me baby, don't turn your back on me baby. She trying to make (unintelligible) out of me. KUVEZIN: (Tuvan singing) Black magic woman, I got a black magic woman, I got a black magic woman, got me so blind I can't see. (Soundbite of music, “Black Magic Woman”) Occasionally it can be eerily disturbing, like a shamanic take on Santana's version of Black Magic Woman that can raise scalp hair. What enters as familiar classic rock emerges as something disoriented, starling, thought provoking and sometimes hilarious. There's glee in the way he refracts songs. ALBERT KUVEZIN (Yat-Kha): (Tuvan singing) In-a-godda-da-vida, honey, don't you know that I love you?ĬHRIS NICKSON: Albert Kuvezin is the gloriously mad sense of rock and roll. (Soundbite of song, “In-A-Godda-Da-Vida”) On their latest album, Re-Covers, the band takes the approach literally, performing some rock classics in Tuvan style.
Albert Kuvezin and his band Yat-Kha rev up traditional Tuvan throat singing by mixing it with rock and roll.
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