Name: Joni Mitchell All-Stars on Coast to Coast, August 29, 1987
Uploaded: 2016-12-04T03:54:31.000Z
Description: Watch the stand-up comedy video 'Joni Mitchell All-Stars on Coast to Coast, August 29, 1987' from Don Giller on Comedy Buff. Published 2016-12-04. Transcript available.

Watch the stand-up comedy video 'Joni Mitchell All-Stars on Coast to Coast, August 29, 1987' from Don Giller on Comedy Buff. Published 2016-12-04. Transcript available.

Oh, look, I've got to warn you about the next segment of this show.
Ken Ehrlich, the producer, he's a friend of mine.
He thought it would be a great idea to put some terrific musicians together in
one room
and without any kind of plan, just kind of see what happens.
Now, we're about to see this, but if it doesn't work, remember, it was Ken's
idea.
If it does work, it's mine.
Oh, but also, if it doesn't work, Ken ain't a friend of mine anymore.
Come on.
I remember the first time I heard Johnny, the first time I met you, actually,
was in 1967.
I remember the situation.
It was at the Oliver Cromwell Hotel.
You were, it was me and Alvin Bishop and you and you sat and played this song
for me.
It was so captivating.
It was so unbelievable.
I just, I don't remember what it was called.
It was called Harlequin.
Oh, I remember that thing.
Yeah.
And it was so incredible.
And it really moved me.
And I, I, I never met you before.
And I, I don't know if you'd even recorded it at that point.
It was so intricate.
I forgot you were there at that.
Yeah.
It was so intricate and delicate and beautiful.
And it really, it really had a tremendous impact on it.
Thanks for that.
Oh.
1967.
20.
20.
20.
I mean, there's a lot of things we could do.
It's true.
Well, let's see, about honing it down.
Oh, let's see.
Well, I thought, you know, I, I know we got to start from scratch, but we got
to start from
somewhere from scratch, right?
Yeah, right, right.
So, you got to have a pen, a pen to scratch your finger.
You know, I like to set a song inside a song sometimes.
Like, you give, it's like a throwback in a movie.
So, I was thinking, Furry Sings the Blues, I always had an idea to, to do a
tune, that
tune with Miles at some point.
Oh, okay.
As a matter of fact, I approached him during his locked up period, you know,
like, he wasn't
going out to do it.
It's a song that you could, you could set up an atmosphere, like, in the last
verse,
it goes, um, goes to the Dark Town Society, come right out of the bricks at me,
like,
it's a Saturday night, everybody's in their finery, dancing it up and making
deals.
It's like, this is Memphis' set.
This is like, I'm walking down the street in Memphis in 1983, and you can feel
the history
losing back from, when was there, yeah, that was like the 30s prohibition, wasn't
it?
Yeah.
When the street was active.
And you could go into, kind of, you could, from that point of departure, using
me as a
narrator, then I could step out, and you could take off into some kind of, like,
more
regular jazz version.
Hmm.
Version.
Version.
Yeah.
Next time, nobody's like playing.
Yeah, right, right.
Yeah, right, right.
Yeah, you're there.
Wow.
That'll be like, yeah.
Yeah, all right.
That'll leave more room for me to play.
Yeah, right.
Yeah, right.
Yeah, right.
Yeah, right.
Oh, oh, oh.
Cheeky tollers, ice sheets, and guns
Aimed at the hot blood of beer, no one
Down and out in Memphis, Tennessee
Orphery sings the blues
You bring him smoke and drink and he'll play for you
It's mostly muttering now
Sideshow spears
But there was one song he played
I could really feel
Oh, Perlis got nobody
Oh, Perlis got nobody
The new Daisy
The old girl's silent across the street
She's silent
Waiting for the records beat
Starin' at her stolen name
Diamond boys and the satin dolls
Bourbon laughter
Ghosts, history bars
The parking lots and the shopping malls
As they tear down Old Beale Street
Oh, Perlis sing the blues
He points a pony finger at you
He said, I don't like you
Everybody laughs
Like it's very standard joke
But it's true
We're only welcome for our drinking smoke
Here in San Francisco
I met you because David Rubison introduced me to you
That's right, in the studio
Right
But I didn't get a chance to hear you
The first time we worked together
Was with George Benson's All Size
Remember that?
Oh, right
What I remember about
What was it?
Sarah Tolga or something?
No, no
It was before that
But what I remember about that experience was
I was like the new kid on the block
Everybody was veterans
I was just
You know
Sort of intimidated by being on that
Stage with y'all
But I remember coming up to you and saying
Something like
You know
When I go up to the mic to take my solo
Don't
You know
Don't be nice to me
You know
Don't sort of let up on what you're doing
And I can remember the song that we were playing
I do remember that the moment I stepped up to the microphone
You put the music through a blender of something
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
And I walked in with Jocko
And it was a closed session
And when I walked in, you were standing up
Kind of in an elevated position
And you gave me the stink eye
You made it like, you know
It was a closed session so I went
Yes, sir, you know
Sunk down into the couch like in one corner
Like I just sort of let the couch like swallow me up
Like I didn't make a sound all the time we were in there
You remember that?
And when we were leaving, just as we were leaving
You came up and you threw your arms around my waist
And gave me a big hug
And then we left
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
Columbia, Maryland?
Yeah, maybe that was it
Meriwether Post
Meriwether Post
Yeah, I think that's where it was
And you came on and played, I mean
You played some fantastic stuff too
I mean, it was
I mean, the way you built the choruses
Each time they got higher and higher and higher
And higher and higher, you know
It built to a frenzy
Well, the pressure was on, I knew you were there
No, you kidding
Yeah, that was exciting though
That was really, really great
I think that was really the first time
I really got a chance to hear you live
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Thank you.
I remember the first time I heard you and Wayne at the same time was when ESP
came out.
Really?
That was the first time, and I was starting to feel like pretty good.
I was starting to get a little mastery of changes, my 251s.
I put that record on, and I said, I'm in real trouble.
I'm in real trouble.
I sat there, and I said, what is going on?
But, wait, is that, what are they putting?
Fuck me up.
You know what happened?
Before we did that album, I said, how much before?
Maybe a month or a couple of months before.
We played in Detroit, and Tony Williams and I used to play behind George
Coleman, all the
wild, daring stuff.
But then when Miles would play his solo, because we were so used to hearing
Miles with Wynton Kelly
or Bill Evans and Jimmy Cobb on drums or Philly Joe, that we would play what we
thought would
make Miles feel comfortable.
You know, and then one day, Miles says, why don't you play behind me?
You play behind George.
And we said, really?
And so we said, okay.
So the next tune that we played, Tony let him have it.
You know, he pulled all this stuff out, you know.
And we started playing with the changes and with the rhythm, and Miles started
bobbing and weaving
and trying to find a place in that stuff.
And we were moving away from the tonality.
Tonality, yeah.
I guess there was no.
We come and go unknown.
It's so deep and superficial.
Between the worships and the stones.
Ooh, I looked at the granite markers
Tributes to finality, to eternity
Then I looked at myself here
Chicking, scratching for my immortality
In the church they light the candles
The wax rolled down like tears
There is the hope and the hopelessness
I've witnessed all these years
We're just particles of change
I know, I know
Orbiting around the sun
How can I have that point of view
Always bound and tied to someone
White flags of winter chimneys
Well, truce against the moon
In the mirrors of a modern bank
From the window of my hotel room
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
I'll make our right as much
thank you man I really enjoyed it
yeah I had a ball
hey there's somebody
up over there
I mean that was fun
yeah
thank you
okay
all right
all right
well that's it
for the very first edition of Showtime
Coast to Coast
I'll tell you it's going to be different
and of course
chance musicians never lie
right
I hope we get a chance to do it again
and then until the next time
thanks for being with us
good night
I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different

Joni Mitchell All-Stars on Coast to Coast, August 29, 1987

Oh, look, I've got to warn you about the next segment of this show.
Ken Ehrlich, the producer, he's a friend of mine.
He thought it would be a great idea to put some terrific musicians together in
one room
and without any kind of plan, just kind of see what happens.
Now, we're about to see this, but if it doesn't work, remember, it was Ken's
idea.
If it does work, it's mine.
Oh, but also, if it doesn't work, Ken ain't a friend of mine anymore.
Come on.
I remember the first time I heard Johnny, the first time I met you, actually,
was in 1967.
I remember the situation.
It was at the Oliver Cromwell Hotel.
You were, it was me and Alvin Bishop and you and you sat and played this song
for me.
It was so captivating.
It was so unbelievable.
I just, I don't remember what it was called.
It was called Harlequin.
Oh, I remember that thing.
Yeah.
And it was so incredible.
And it really moved me.
And I, I, I never met you before.
And I, I don't know if you'd even recorded it at that point.
It was so intricate.
I forgot you were there at that.
Yeah.
It was so intricate and delicate and beautiful.
And it really, it really had a tremendous impact on it.
Thanks for that.
Oh.
1967.
20.
20.
20.
I mean, there's a lot of things we could do.
It's true.
Well, let's see, about honing it down.
Oh, let's see.
Well, I thought, you know, I, I know we got to start from scratch, but we got
to start from
somewhere from scratch, right?
Yeah, right, right.
So, you got to have a pen, a pen to scratch your finger.
You know, I like to set a song inside a song sometimes.
Like, you give, it's like a throwback in a movie.
So, I was thinking, Furry Sings the Blues, I always had an idea to, to do a
tune, that
tune with Miles at some point.
Oh, okay.
As a matter of fact, I approached him during his locked up period, you know,
like, he wasn't
going out to do it.
It's a song that you could, you could set up an atmosphere, like, in the last
verse,
it goes, um, goes to the Dark Town Society, come right out of the bricks at me,
like,
it's a Saturday night, everybody's in their finery, dancing it up and making
deals.
It's like, this is Memphis' set.
This is like, I'm walking down the street in Memphis in 1983, and you can feel
the history
losing back from, when was there, yeah, that was like the 30s prohibition, wasn't
it?
Yeah.
When the street was active.
And you could go into, kind of, you could, from that point of departure, using
me as a
narrator, then I could step out, and you could take off into some kind of, like,
more
regular jazz version.
Hmm.
Version.
Version.
Yeah.
Next time, nobody's like playing.
Yeah, right, right.
Yeah, right, right.
Yeah, you're there.
Wow.
That'll be like, yeah.
Yeah, all right.
That'll leave more room for me to play.
Yeah, right.
Yeah, right.
Yeah, right.
Yeah, right.
Oh, oh, oh.
Cheeky tollers, ice sheets, and guns
Aimed at the hot blood of beer, no one
Down and out in Memphis, Tennessee
Orphery sings the blues
You bring him smoke and drink and he'll play for you
It's mostly muttering now
Sideshow spears
But there was one song he played
I could really feel
Oh, Perlis got nobody
Oh, Perlis got nobody
The new Daisy
The old girl's silent across the street
She's silent
Waiting for the records beat
Starin' at her stolen name
Diamond boys and the satin dolls
Bourbon laughter
Ghosts, history bars
The parking lots and the shopping malls
As they tear down Old Beale Street
Oh, Perlis sing the blues
He points a pony finger at you
He said, I don't like you
Everybody laughs
Like it's very standard joke
But it's true
We're only welcome for our drinking smoke
Here in San Francisco
I met you because David Rubison introduced me to you
That's right, in the studio
Right
But I didn't get a chance to hear you
The first time we worked together
Was with George Benson's All Size
Remember that?
Oh, right
What I remember about
What was it?
Sarah Tolga or something?
No, no
It was before that
But what I remember about that experience was
I was like the new kid on the block
Everybody was veterans
I was just
You know
Sort of intimidated by being on that
Stage with y'all
But I remember coming up to you and saying
Something like
You know
When I go up to the mic to take my solo
Don't
You know
Don't be nice to me
You know
Don't sort of let up on what you're doing
And I can remember the song that we were playing
I do remember that the moment I stepped up to the microphone
You put the music through a blender of something
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
It's changed it up so much, you know
And I walked in with Jocko
And it was a closed session
And when I walked in, you were standing up
Kind of in an elevated position
And you gave me the stink eye
You made it like, you know
It was a closed session so I went
Yes, sir, you know
Sunk down into the couch like in one corner
Like I just sort of let the couch like swallow me up
Like I didn't make a sound all the time we were in there
You remember that?
And when we were leaving, just as we were leaving
You came up and you threw your arms around my waist
And gave me a big hug
And then we left
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
And then we left the couch like in the middle of the night
Columbia, Maryland?
Yeah, maybe that was it
Meriwether Post
Meriwether Post
Yeah, I think that's where it was
And you came on and played, I mean
You played some fantastic stuff too
I mean, it was
I mean, the way you built the choruses
Each time they got higher and higher and higher
And higher and higher, you know
It built to a frenzy
Well, the pressure was on, I knew you were there
No, you kidding
Yeah, that was exciting though
That was really, really great
I think that was really the first time
I really got a chance to hear you live
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Come on
Thank you.
I remember the first time I heard you and Wayne at the same time was when ESP
came out.
Really?
That was the first time, and I was starting to feel like pretty good.
I was starting to get a little mastery of changes, my 251s.
I put that record on, and I said, I'm in real trouble.
I'm in real trouble.
I sat there, and I said, what is going on?
But, wait, is that, what are they putting?
Fuck me up.
You know what happened?
Before we did that album, I said, how much before?
Maybe a month or a couple of months before.
We played in Detroit, and Tony Williams and I used to play behind George
Coleman, all the
wild, daring stuff.
But then when Miles would play his solo, because we were so used to hearing
Miles with Wynton Kelly
or Bill Evans and Jimmy Cobb on drums or Philly Joe, that we would play what we
thought would
make Miles feel comfortable.
You know, and then one day, Miles says, why don't you play behind me?
You play behind George.
And we said, really?
And so we said, okay.
So the next tune that we played, Tony let him have it.
You know, he pulled all this stuff out, you know.
And we started playing with the changes and with the rhythm, and Miles started
bobbing and weaving
and trying to find a place in that stuff.
And we were moving away from the tonality.
Tonality, yeah.
I guess there was no.
We come and go unknown.
It's so deep and superficial.
Between the worships and the stones.
Ooh, I looked at the granite markers
Tributes to finality, to eternity
Then I looked at myself here
Chicking, scratching for my immortality
In the church they light the candles
The wax rolled down like tears
There is the hope and the hopelessness
I've witnessed all these years
We're just particles of change
I know, I know
Orbiting around the sun
How can I have that point of view
Always bound and tied to someone
White flags of winter chimneys
Well, truce against the moon
In the mirrors of a modern bank
From the window of my hotel room
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
Hey, hey.
I'll make our right as much
thank you man I really enjoyed it
yeah I had a ball
hey there's somebody
up over there
I mean that was fun
yeah
thank you
okay
all right
all right
well that's it
for the very first edition of Showtime
Coast to Coast
I'll tell you it's going to be different
and of course
chance musicians never lie
right
I hope we get a chance to do it again
and then until the next time
thanks for being with us
good night
I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's going to be different
and I'll tell you it's