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همه چیز درباره زندگی و آثار جوآن بائز
 

 

J

Biography

Joan Baez was born on January 9, 1941 in Staten Island, New York, the second of three daughters to Dr. Albert Baez, a physicist, and Joan Bridge Baez. Her mother was English-Scotish, the daughter of an Episcopalian Minister and a professor of drama who had migrated to the United States, and her father was of Mexican parentage, the son of a minister. Her father's activities as a physicist, researcher and UNESCO consultant took him to many parts of the country, and Joan's childhood was spent first in the small town of Clarence Center, New York, and then in Redlands, California. She developed both her social consciousness and her love for music at a relatively tender age. Picking up the ukulele, Baez made her performing debut at a high school talent show when she was 14, performing "Honey Love." There she began singing both for the high school choir and for herself, and learned to accompany herself on the guitar. When her father took a job at M.I.T. a few years later,the family moved to Boston, where for a short time she studied drama at Boston University. She enrolled at the university and soon began singing at the Boston coffee houses, colleges and later concert halls along the East Coast to increasingly large crowds. Then came her 1959 Newport Folk Festival debut. Baez signed with the then relatively small folk label, Vanguard, which first released her performances at the Newport Folk Festival, and then released her first album, Joan Baez, in 1960 and the rest, as they say, is history...

Her admirers transcend musical strata and national boundaries. Her growth as a musician and as a human being have proceeded hand in hand. Enrolling herself in the Civil Rights cause and the peace movement, a spokesman for non-violent resistance to and protest against immoral authority, she has refused to pay taxes that go to escalate the war in Vietnam, and has sung at almost every historic demonstration, and fosters a school for non-violent protest in California.

"My devotion to non-violence and social change formed long before I picked up a ukulele and will go on until I fall into the grave."

JOAN BAEZ
THE TIMES: JANUARY 1993


 


 Forward from "Rare, Live & Classic" by Anthony DeCurtis

Perhaps the greatest honor one can accord Joan Baez is to observe how fully her art and her life have been inseparable from the public events that have shaped our era. Her work over the course of more than three decades has been a tribute to the ability of the human voice to rise out of the confusion of day-to-day struggles and define ideals of beauty and moral courage. But her individual voice, her singing voice-always so rich in both passion and compassion-instills those ideals with flesh and blood. Her songs are nothing less than invitations to a life of social meaning, to view ourselves as part of a larger community whose fate is inextricable from our own, to make that fate better for all.

The convictions that drive Joan Baez counter so many of the impulses that fuel the mythology of the artist in America. Artists are isolated, alienated and unhappy, runs one version of the myth. They are truest to themselves when committed to nothing beyond themselves; their audience is a distant, unknowable enemy, eager to trap the artist's soul in the web of base expectations, a cancer to be avoided at all costs. Another, polar opposite version of the myth insists that artists are nothing more than entertainers or celebrities, prisoners of their audience, of no more significance than the success of their last release. Popularity is the only consequential barometer of their importance.

For Joan Baez, however, singing songs is a means of encountering her world around her and attempting to change it. She perceives her audience as differing in no essential way from herself. Neither fleeing the desires of her listeners nor pandering to them, she lives the actively engaged life more typical of artists in Europe and Latin America. Her art embraces and challenges her audience.

Whether singing in small clubs at the dawn of the Sixties folk revival, encouraging a sing-along at an Alabama college at the height of the civil rights movement, dueting with the youthful Bob Dylan in New York, entertaining the counterculture troops at the Newport Folk Festival, or playing homage to the lives of the American radicals Sacco and Vanzetti while touring in Europe, Baez creates work that achieves meaning and intensity through a strong-willed, open-hearted grappling with the moment.

And it is precisely that immediacy, that immersion in the moments of history that grants Baez's work its lasting power. Artists who are honest with themselves don't create with one eye on posterity. They create for their contemporaries, and the more compellingly they do that, the more eloquently their work speaks to the future.

Much has been written about Joan Baez, but the following is a beautiful piece by JANIS IAN who sums up the magic of this mother of music.

At 11 years old I fell in love with Joan Baez. She was the perfect girl for me sincere, unattached (in that era anyone visibly unmarried meant I still had a chance), and already of mythic proportions as a singer. I learned guitar by slowing down her records. I set my curly hair in huge rollers, hoping it would fall languorously around my shoulders. I longed to be like her. I longed to be with her. I longed. In the life of the tragically unhip, Joan Baez was the epitome of cool...Some years passed, and I attended the Newport Folk Festival as a 16-year-old wunderkid. I was in the throws of teenage angst, dressed completely in black and terrified to speak with anyone. My early success with Societys Child had offended many of the performers there; they resented my youth and the apparent ease of my rise to fame. When I entered the dinning room for the first time, all the singers deliberately turned their backs and continued eating, effectively freezing me out. For someone who had always dreamed of being cool, I was about to be shunned publicly by those I admired most. Then Joan Baez appeared and flew across the crowded room. She introduced herself and led me back to her family's table, where she rescued me from abject humiliation. And although she doesn't remember it today, she gave me the queens stamp of approval, making me loyal to her for life. A few years ago, when Joan was in search of songs for her next album she came to Nashville and planned to stay with me. Never having discussed my sexuality with her, I worried that she might not know I was gay. Since I wanted her to be comfortable, I casually mentioned on the phone that I lived with a woman. Joan's only comment was 'Great. What's her name'. This past April I was asked by the National Gay and Lesbian Task Force to do a benefit, and Joan called to see if she could become involved and show her support for me. When we took the stage, it was the first time we'd ever performed together...I was right to choose Joan as a role model. As gay people, we are accustomed to moving in a straight world, but that April night Joan Baez willingly moved into our world, embracing us and our cause as she's embraced so many others with dignity and laughter. And beauty! Let me tell you, Joan Baez is a serious babe.

JANIS IAN
WRITING IN THE ADVOCATE: JUNE 1994.

 

به سایت سارا شعر خوش آمدید

 


3 CD or 4 Cassette Set with Illustrated Book
 
CD ONE
  1. SCARLET RIBBONS
    Recorded in 1958. From the album Joan Baez In San Francisco (Fantasy 5015), 1964.
  2. JIMMY BROWN
    Previously unreleased. Baez family letter, circa 1959.
  3. CARELESS LOVE
    Duet with Bill Wood. Recorded for the Balladeers Radio Show on WHRB Radio, Harvard University, 1959.
  4. AUCTIONEER
    Duet with Bill Wood. Recorded at the Club 47, Cambridge, Massachusetts, 1959.
  5. BLACK IS THE COLOR
    From the album Folksingers 'Round Harvard Square (Veritas), 1959.
  6. JOHN HARDY
    Recorded at the New England Conservatory of Music, Boston, MA, 1959.
  7. WE ARE CROSSING JORDAN RIVER
    Duet with Bob Gibson. Recorded at the Newport Folk Festival, July 11, 1959. From the album "Folk Festival At Newport,Volume 2" (Vanguard VSD 2054), 1959.
  8. JOHN RILEY
    From the album "Joan Baez" (Vanguard 2077-2), 1960.
  9. SILVER DAGGER
    From the album "Joan Baez" (Vanguard 2077-2), 1960.
  10. HOUSE OF THE RISING SUN
    From the album "Joan Baez" (Vanguard 2077-2), 1960.
  11. LOW DOWN CHARIOT
    Duet with Eric Von Schmidt. Recorded at the Agassiz Theater, Harvard University, October 7, 1960.
     
  12. WAGONER'S LAD
    From the album "Joan Baez, Volume 2" (Vanguard 2097-2), 1961.
  13. LAST NIGHT I HAD THE STRANGEST DREAM
    Recorded in 1962. From the album "Very Early Joan" (Vanguard 79446/7-2). 1982; produced by Maynard Solomon.
  14. GEORDIE
    From the album "Joan Baez In Concert" (Vanguard 113/14- 2), 1962.
  15. WHAT HAVE THEY DONE TO THE RAIN
    From the album "Joan Baez In Concert" (Vanguard 113/14- 2), 1962. Also released as a single (Vanguard VRS 35023).
  16. TROUBLED AND I DON'T KNOW WHY
    Duet with Bob Dylan. Recorded at the Forest Hills Tennis Stadium (New York), August 17, 1963.
  17. WITH GOD ON OUR SIDE
    From the album Joan Baez In Concert, Part 2" (Vanguard 2123-2), 1963.
  18. WE SHALL OVER COME
    Recorded at Miles College, Birmingham, Alabama. From the album "Joan Baez In Concert, Part 2" (Vanguard 2123-2), 1963. Also released as a single (Vanguard VRS 35023)
  19. GO 'WAY FROM MY WINDOW
    From the album "Joan Baez, 5" (Vanguard 79160-2), 1964.
  20. MAMA, YOU BEEN ON MY MIND
    Duet with Bob Dylan. Recorded at New York's Philharmonic Hall, August, 1964.
     
  21. THERE BUT FOR FORTUNE
    From the album "Joan Baez, 5" (Vanguard 79160-2), 1964. Also released as a single (Vanguard VRS 35031).
  22. COLOURS
    Duet with Donovan. Recorded at the 1965 Newport Folk Festival.
  23. THE RIVER IN THE PINES
    From the album "Farewell, Angelina" (Vanguard 79200-2), 1965.


CD TWO

  1. PACK UP YOUR SORROWS
    Released as a single (Vanguard VRS 35040), 1966.
  2. THE SWALLOW SONG
    Released as a single (Vanguard VRS 35040), 1966. Also included on Richard & Mimi Farina's album "Memories" (Vanguard 79263-2), 1968.
  3. LEGEND OF A GIRL CHILD LINDA
    Trio with Mimi Farina and Judy Collins. Recorded June 15, 1967.
  4. CHILDREN OF DARKNESS
    From the album "Joan" (Vanguard 79240-2), 1967.
  5. CATCH THE WIND
    Duet with Mimi Farina. Recorded June 15, 1967.
  6. I AM A POOR WAYFARING STRANGER
    Duet with Mimi Farina. From the album "David's Album" (Vanguard 79308-2), 1969; produced by Maynard Solomon, co-produced by Jack Lothrop.
  7. SWEET SIR GALAHAD
    From the album "One Day At A Time" (Vanguard 79310-2), 1969; produced by Maynard Solomon, co-produced by Jack Lothrop.
  8. DONNA DONNA
    Recorded in concert for CBC Radio, Montreal, Canada, 1969.
  9. LONG BLACK VEIL
    From the album "One Day At A Time" (Vanguard 79310-2), 1969; produced by Maynard Solomon, co-produced by Jack Lothrop.
  10. MAMA TRIED
    Duet with Jeffrey Shurtleff. Recorded in 1969. Produced by Maynard Solomon.


View other Baez albums
 

If you enjoy Joan Baez, we invite you to visit Buffy Sainte-Marie, Pam Gadd, Odetta, Judy Collins, and the Newport Folk Festival Classics Series.

 

 

 

 

 لینک های مربوطه:
  1. SING ME BACK HOME
    Duet with Jeffrey Shurtleff. Recorded in 1969. Produced by Maynard Solomon.
  2. JOE HILL
    From the soundtrack album "Carry It On" (Vanguard 79313 -2), 1971; produced by Christopher Knight.
  3. THE NIGHT THEY DROVE OLD DIXIE DOWN
    From the album "Blessed Are..." (Vanguard 6570/1-2), 1971; produced by Norbert Putnam, co-produced by Jack Lothrop.
  4. BLESSED ARE...
    From the album "Blessed Are..." (Vanguard 6570/1-2), 1971; produced by Norbert Putnam, co-produced by Jack Lothrop.
  5. HELLO IN THERE
    Duet with Kris Kristofferson. Recorded at the Big Sur Folk Festival, September 25, 1971. From the album "One Hand Clapping" (Columbia KC 31138), 1972; produced by Nancy Carlen.
  6. LOVE SONG TO A STRANGER
    From the album "Come From The Shadows" (A&M SP-4339), 1972. Also released as a single (A&M 1393); produced by Joan Baez, co-produced by Norbert Putnam.
  7. IN THE QUIET MORNING (FOR JANIS JOPLIN)
    From the album "Come From The Shadows" (A&M SP-4339), 1972. Also released as a single (A&M 1362); produced by Joan Baez, co-produced by Norbert Putnam.
  8. ANGEL BAND
    Duet with Jeffrey Shurtleff. From Jeffrey Shurtleff's album "State Farm" (A&M SP-4332), 1972; produced by Joan Baez, co- produced by Norbert Putnam.
  9. JOHNNY, I HARDLY KNEW YEH
    Recorded in 1974 as a benefit for the 2nd Vietnam Veterans Bonus March (A&M 8268-S); produced by Joan Baez & Henry Lewy.
  10. GRACIAS A LA VIDA
    From the album "Gracias A La Vida" (A&M SP-3614), 1974; produced by Joan Baez & Henry Lewy.

CD THREE

  1. DIAMONDS & RUST
    From the album "Diamonds & Rust" (A&M SP-4527), 1975. Also released as a single (A&M 1737-S); produced by David Kershenbaum & Joan Baez.
  2. CHILDREN AND ALL THAT JAZZ
    From the album "Diamonds & Rust" (A&M SP-4527), 1975. Also released as a single (A&M 1820); produced by David Kershenbaum & Joan Baez.
  3. BLOWIN' IN THE WIND
    Duet with Bob Dylan. Recorded in concert during the Rolling Thunder Revue in Fort Worth, Texas, 1976.
  4. SWING LOW, SWEET CHARIOT
    From the album "From Every Stage" (A&M SP 3704), 1976; produced by David Kershenbaum.
  5. JESSE
    Recorded in concert at the Palladium (New York), by DIR Broadcasting for the King Biscuit Flower Hour, May 26, 1977. Produced by Bob Meyerowitz.
  6. HONEST LULLABY
    From the album "Honest Lullaby" (Portrait EK-35766), 1979. Also released as a single (Portrait 70032); produced by Barry Beckett.
  7. JACKAROE
    Recorded at the Barn, Novato, CA in 1980 with Mickey Hart & Jerry Garcia. Joan Baez, guitar & vocal; Jerry Garcia, guitar; Mickey Hart, drums; Produced by Mickey Hart.
  8. MARRIOTT, USA
    Recorded at the Barn, Novato, CA in 1980 Joan Baez, guitar & vocal; Mickey Hart, drums and percussion; Jim McPherson, organ, piano, drums; Bob Weir, guitar; Bobby Vega, bass. Produced by Mickey Hart.
  9. AMAZING GRACE
    Recorded in concert by DIR Broadcasting for the King Biscuit Flower Hour, 1982; produced by Bob Meyerowitz.
  10. FOREVER YOUNG
    Recorded in concert by DIR Broadcasting for the King Biscuit Flower Hour, 1982; produced by Bob Meyerowitz.
  11. FAREWELL ANGELINA
    From the album "Live Europe '83" (Ariola 203331), 1983. Produced by Gerard Tempesti.
  12. A HARD RAIN'S A GONNA FALL
    From the album "Live Europe '83" (Ariola 203331), 1983. Produced by Gerard Tempesti.
  13. HERE'S TO YOU
    From the album "Live Europe '83" (Ariola 203331), 1983. Produced by Gerard Tempesti.
  14. BLUES IMPROV
    Duet with Odetta. Recorded at Folk City's 25th Anniversary Concert, September 14, 1985.
  15. RING THEM BELLS
    Recorded in concert at Duke University (Durham, NC), November 24, 1989.
  16. EL PRESO NUMERO NUEVE
    From the album "Diamonds & Rust In The Bullring" (Gold Castle 71321), 1989; produced by Alan Abrahams.
  17. SPEAKING OF DREAMS
    From the album "Speaking Of Dreams" (Gold Castle 71324), 1989; produced by Alan Abrahams.

    Compilation Producers: Joan Baez, Nancy Lutzow, Mark Spector
    Co-Producer: Manny Greenhill
    Engineered for release by Jeff Zaraya
    Interviews by Charles J. Fuss
    Foreward by Anthony DeCurtis
    Package design by Norman Moore, Design Art Inc.

 

 
 

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