If you treasure flashbacks, as I do, seeing both Joan Baez and Bob Dylan in Utah within weeks of each other this fall was a gold mine. The fortunes of the two singers have changed. And, it seems, the times, they are a'changin' for Utah as well. Somehow, we seem to be getting on the map.
Wednesday night Baez took her turn on stage here. And when the lights finally went up at Kingsbury Hall, she'd put on a show that most performers could use as a blueprint. It was natural, energetic, warm and passionate. In fact, the whole concert seemed to be orchestrated like the movements of a symphony. You could ask Maurice Abravanel. He was there as well.One gets the feeling that Baez has tried to grow as trees grow: branching out while drawing life and stability from the roots. After opening with a solo rendition of "Forever Young," Baez called her stage band out and began to blend songs from the '60s with songs from her new album, "Speaking of Dreams," and a few off-beat pieces for good measure.
Dressed in a stylish but simple Cassock skirt, blouse and vest, Baez put fervor into the social consciousness numbers ("Biko," "China," "No Woman No Cry") and plenty of heart into old chestnuts like "The Night They Drove Old Dixie Down," "House of the Rising Sun" and "Farewell, Angelina." She has obviously done this many times. And apparently learned something about performing each time.
Bob Dylan _ sometimes a friendly spirit, sometimes a goblin in her life _ showed up in versions of "Jack of Hearts" (complete with a Dylan parody) and "Ring Them Bells." He also seemed to hover in the folk guitar work and the sassy attitudes. Baez doesn't have a chip on her shoulder, but she likes to speak her mind and likes you to listen when she does.
But the best news for Baez fans was she has not only changed somewhat, but she has grown. She set out to prove that by showcasing a good half-dozen numbers from her recent album. George Michael's "Hand to Mouth," a lilting Irish lyric "Carrickfergus" and "Warriors of the Sun" were the standouts there. "China," a tribute to the Chinese students, didn't quite catch in the mind melodically or lyrically the way she probably hoped it would.
Every few numbers the band would shuttle off stage to give the star a go at a number with solo guitar, then they'd steal back from the shadows to pump up the latter verses of traditional pieces. Jamie Fox was especially fine on lead guitar, displaying a range that ran from blues to salsa and back through jazz.
In all, the delivery was flawless. Any qualms would have to come with the material and the performer herself. Like a well-done Pinter play, you can't find fault with the professionalism, only the vision behind it.
And Kingsbury Hall was full of true believers Wednesday. A lot of jeans and beards and memories floated about.
After closing with "Freedom," Baez returned, graciously, for two encore numbers. An a capella version of "Swing Low Sweet Chariot" offered a superb bit of voice control as Baez modulated the music one step up with each verse. Her final number of the night was a jaunty tribute to Paul Simon and his hit song "The Boxer."
But for real Baez aficionados, the key phrase of the night just may have been buried in one of her two Spanish numbers, "Gracias a la Vida." "El canto de Ustedes es mi propio canto," she sang. "The song of all of you is my very own song."
And that's what Baez did best 30 years ago; it's what she does best now: take her political and artistic cues from everyday people, then give them their feelings and thoughts back in wonderful nightingale melodies.
One hopes she'll be back in Salt Lake City in the near future to do it all once again.