Joan Baez - Joan Baez/5
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Artist: Joan BaezEdition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 2002-07-09
Music Label: Vanguard Records
Free Music Notes for Joan Baez/5
Free Music Review: A True Artist at the Height of Her Powers
Hit: 5 Stars
It's funny how time can change so totally what we cherish and believe about art. As a music historian once noted, all people hear music, but few people actually listen. One upon a time, at a much younger age, I thought that because I listened to music all the time, I knew everything there was to know about it. As a young, "hip" urban gay man, exposed to all the theatre and music that my native city, New York, had to offer, I used to think I had it all sewed up. I was proud of my knowledge of Jazz, theatre, and other popular music that I thought of as "sophisticated", choosing to turn my nose up at country, folk, blues, rock, and anything else my friends didn't listen to.
The older I get, the more I realize that I didn't know a fraction of what I thought I did, and I am indeed still learning what it truly good. My taste in music began to change when I was in my mid-twenties, and today, (fast approaching my mid-fifties) I have learned to embrace many forms of music at their most basic, and for several years now I have been content to call myself an enthusiast of "roots" music. Yes, I still love Jazz and even Broadway show tunes, but my preferences now lean towards blues, country (including its many sub-genres) and folk music.
I own about 20 CD's of Joan Baez, from all periods of her output. I found Joan fairly late in her career, but fairly early in the "rebirth" of my concept of what good music is. Of all the folk singers I admire, there are few I continue to return to again and again as much as I do Joan Baez, and Joan Baez 5 is easily my favorite above all her other efforts.
Joan Baez 5 starts with the finest version of Phil Ochs' There But For Fortune that I know of, including the definitive version by Mr. Ochs. Her perfect soprano accents the hauntingly beautiful lyrics, which seem to grow more topical as the years go by. "Show me the country where the bombs had to fall, and I'll show you a young land with so many reasons why, there but for fortune go you or I..." Beautiful? Indeed, but words and accolades lose their meaning and soon pale beside such truth and beauty.
The death of Queen Jane, a "true story" about Jane Seymour (possibly Henry VIII's only true love) dying in childbirth is both haunting and unforgettable; it's both a perfect musical statement and one of the standouts on a stellar album.
It is interesting to note that, more than any other singer, Joan Baez's take on almost any song is apt to outshine the most celebrated renditions of the same song, even those by the songwriter; anyone who doubts this need only listen to her version of Bob Dylan's It Ain't Me Babe, or Johnny Cash's I Still Miss Someone. In fact, I am ready to admit that her version of the Cash song here is even better than the rendition recently recorded by my favorite vocalist, Tracy Nelson, and THAT (as far as I'm concerned) is really saying something.
Joan Baez does not need to prove that she has a classically trained voice; virtually everything she tackles is sung in a high, clear soprano that almost any opera diva would be proud to display. Nevertheless, when she does turn her attention to the occasional well-chosen classical piece, such as Villa-Lobos' Bachianas Brasileiras, it's really something to behold. I sometimes halt the CD on this track and play it through four or five times, savoring each note and allowing myself to marvel at the joy of such a perfectly sung aria. Following classical music with a straight-forward folk song such as Go Away From My Window is a feat many lesser vocalists wouldn't dare attempt, yet the mood slides effortlessly from classical to contemporary. I have heard this song by a variety of singers (including a concert version by Marlene Dietrich (!) that surprised the heck out of me) but once Joan has finished with it, nobody else can touch it.
This brings us to the album's true highlight. To quote the liner notes, "September 15, 1963, four little girls went to Sunday school one Sabbath morning and never came home. Instead, they left their blood upon the church house wall...Sunday dresses torn to shreds by dynamite, victims of the race war in the American South". Joan sings Birmingham Sunday with a cool detachment that belies her (and our) rage and sorrow. It's been 45 years since the actual event, and although I was only 9 at that time, I can still recall that shocking news bulletin. I wept then, and I weep today. There is something about the quiet dignity of Joan's voice that makes me re-live the sorrow and the shock each time I hear this song, and something about her delivery that renews my conviction that we must never forget, and teach the next generation and the next as well that this shameful event must never be repeated.
It's funny how music means different things at different times, and strange how the passage of time can alter one's perception of what is truly important. Although I have not managed to acquire Joan Baez's complete output (I've been slowly working on it for years, believe me) I can't imagine that any record by almost any singer could move me more. And THAT'S what I call art.
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