PORTLAND – Grammy winner Rickie Lee Jones, who’s ranked No. 30 on VH1’s 100 Greatest Women of Rock ‘N’ Roll, will perform April 13 at Port City Music Hall.

Tickets go on sale at 9 a.m. Friday, March 13, and are available at all Bull Moose music stores and online at www.portcitymusichall.com. General admission tickets are $35 in advance, $38 day of show. General admission, VIP seating tickets, are $50.

The concert is a 21+ event.

Once touted as the natural successor to Joni Mitchell, singer/songwriter Rickie Lee Jones proved no less idiosyncratic or mercurial. Like Mitchell, Jones experienced significant commercial success at the outset of her career, but a restless creative spirit – combined with a stubborn refusal to fit comfortably into any one musical niche – sealed her ultimate destiny as that of a highly regarded cult heroine.

Born Nov. 8, 1954, in Chicago, Jones began drinking heavily as a teen and eventually left home and began drifting up and down the West Coast before settling in Los Angeles in the mid-1970s. There, she worked a series of waitressing jobs while occasionally performing in area clubs, where she sang and honed her unique, Beat-influenced spoken word monologues.

Her first measure of success was as a songwriter. After her friend Ivan Ulz sang her composition “Easy Money” over the phone to Lowell George, the ex-Little Feat frontman included it on his album “Thanks I’ll Eat It Here.”

In 1978, Jones’ four-song demo came to the attention of Warner Brothers executive Lenny Waronker, who enlisted Russ Titleman to co-produce her self-titled 1979 debut LP. Spurred by the success of the jazz-flavored hit single “Chuck E’s in Love,” she became a smash both commercially and critically, earning praise for her elastic vocals, vivid wordplay and unique fusion of folk, jazz and R&B.

In 1979, she received the Grammy for Best New Artist and was also nominated for Best Album, Best Pop Vocal, Best Rock Vocal and Best New Song.

With 1981’s follow-up, “Pirates,” she gave early notice that her music would not sit still; employing longer and more complex song structures, her lyrics tackled themes of evolution, change and death.

In 1988, “Autumn Leaves” was nominated for the Grammy for Best Jazz Vocal Performance; and in 1989, “Makin’ Whoopee!” won the Grammy for Best Jazz Vocal Performance.

Problems with alcohol, business difficulties and the birth of a daughter effectively sidelined Jones for much of the decade; she did not resurface until 1989’s sterling “Flying Cowboys.” After 1993’s “Traffic From Paradise,” she embarked on an acoustic tour. “Naked Songs,” a document of those unplugged shows, followed in 1995. “Ghostyhead” was released in 1997 and the standards record “It’s Like This” appeared three years later. “It’s Like This” was nominated for the 2000 Grammy for Best Pop Traditional Album.

Jones returned to original material in 2003 with “The Evening of My Best Day,” an album that expressed her anger with contemporary American politics. In 2207, “The Sermon on Exposition Boulevard,” a collection of songs based on friend Lee Cantelon’s 1997 book, “The Words,” came out.

The concert will begin at 8 p.m. at the music hall at 504 Congress St.

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