Joni Mitchell’s complex compositions – utilising unique guitar tunings and dramatic melodic leaps – have at times posed problems for musicians and critics alike, especially during the period when she flirted with the ‘J’ word between 1974 and 1982, roughly from Court And Spark to Wild Things Run Fast. As such she may be the least-covered major artist of the last 50 years.

Until now. Hejira, a London-based group named after Mitchell’s classic 1976 album and featuring the impressive guitar and vocals of Hattie (daughter of Tim) Whitehead, have been wowing audiences for around 18 months now, boldly and effortlessly taking on those beguiling harmonies and delighting Joni fans of a certain age who thought they’d never hear them live again (though Mitchell has recently returned to the stage, albeit tentatively).

So this is anything but a half-assed, makeshift covers group – Whitehead has Mitchell’s tunings down pat, lead guitarist Pete Oxley brings the patented Pat Metheny stereo-chorus sound of the late 1970s/early ‘80s and some inspired licks of his own, bassist Dave Jones wisely sticks fairly closely to Jaco Pastorius’s trademark melodies and lots of thought has gone into arrangements and setlists. And, for this gig, the band was also graced with the excellent multi-reed playing of Loose Tubes/Prefab Sprout alumnus Mark Lockheart.

Enveloped in dry ice and ‘rock’ lighting, and Oxley getting into the spirit with his bell bottoms and psychedelic shirt, they started with a sprightly ‘Coyote’. Lockheart’s bass clarinet provided a nice running commentary throughout the harmonically rich ‘Just Like This Train’, whilst Whitehead’s vocals soared on ‘Woodstock’ and her phrasing was superb on ‘Free Man In Paris’. But the venue’s bass/kick-drum heavy PA overburdened ‘In France They Kiss On Main Street’ and ‘Phase Dance’, not helped by drummer Rick Finley’s sometimes heavy-handed, frantic approach – more rock than fusion.

Whitehead’s vocals and subtle guitars again shone on ‘Blue Motel Room’, but it may have worked better as a duet between Whitehead and excellent Chris Eldred on keys, while ‘Song For Sharon’ benefitted from a neat Latin feel and gorgeous harmonic accompaniment from Oxley. ‘Help Me’ also foregrounded a nice samba groove, while Lockheart did a superb Wayne Shorter impression on ‘Hejira’, part of a medley which also included Oxley and Eldred’s almost note-for-note reading of ‘Pat’s Song’, one of Shadows And Light’s highlights.

Frequent guitar retuning necessitated quite a lot of overlong stage pronouncements, and it was a shame that the set contained no material from Mingus or Don Juan’s Reckless Daughter, but overall this was an enjoyable evening of music at an interesting venue, and the project seems built to last. The balance between songcraft and improvisation feels right, even if sometimes the emphasis seems more on the rock and folk elements of Joni’s music rather than the jazz.