FEATURE:
Dream Brother
PHOTO CREDIT: Mikio Ariga
The Much-Missed and Iconic Jeff Buckley at Fifty-Five
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BEFORE going on…
PHOTO CREDIT: Hideo Oida
I would suggest that, even if you are a hardcore Jeff Buckley fan or not, listening to his music and getting books about him. In terms of music releases, go and get as much as you can on vinyl. There is a recent book where we get notes from his journals, and an insight into an artist who died far too young. There is a great biography that you can check out. The reason I am writing about Jeff Buckley is that, on 17th November, he would have been fifty-five. Since his death in 1997 at the age of thirty, there have been posthumous releases. There were plans for a biopic. I think that his mother, Mary Guibert, has signed off on one. He is this extraordinary artist who was shy and was instantly relatable and warm. Couple that with an insane live talent and a sense of the mysterious and troubled. Buckley was an artist who made people fall in love with him – he is someone so many artists cite as an influence. Rather than bring in a load of text and interview stuff, there are so many videos and audio bits I want to include. I think they better explain the titanic talent that was Jeff Buckley. I will conclude with what he means to me. There is one interview where I want to include some text. Buckley’s sole studio album, Grace, was released in 1994. It is one of the most important debuts ever – one of the finest albums of the 1990s in addition.
As a live performer, he brought so much passion and electricity to his sets. I have said before how the album, Live At Sin-É (Legacy Edition), is my favourite live album. That is recordings of him performing at a small coffee shop in New York in 1993. It is the polar opposite of the bombastic live album: Buckley, his guitar, a microphone and amp and a select group of enraptured café-goers. I know Buckley was working on a second album when he died on 29th May, 1997. His band were about to fly in when they were told that he had gone missing following a spontaneous and impulsive swim. There are those questions as to what could have been had he lived. Clearly, he was going to record a lot more. I wonder whether he would still be writing music now. I sense that fame was a burden. In 1996 and 1997, he was yearning for the relative simplicity of those café concerts – not wanting to be in the spotlight or courted by the media so much. A lot of the intrigue around Buckley was because of his late father, Tim Buckley. So many called Jeff Buckley his son, rather than an artist in his own right. That was a constant source of annoyance. A troubled relationship with his father’s memory and a short-lived career would not do justice to the endless and ongoing impact Buckley’s music has made on the world. I want to start by bringing in the entirety of the biography section from his official website:
“Jeff Buckley was born in California’s Orange County in 1966 and died in a tragic drowning accident in Memphis on May 29, 1997. He had emerged in New York City’s avant-garde club scene in the 1990’s as one of the most remarkable musical artists of his generation, acclaimed by audiences, critics, and fellow musicians alike. His first commercial recording, the four-song EP Live At Sin-é, was released in December 1993 on Columbia Records. The EP captured Buckley, accompanying himself on electric guitar, in a tiny coffeehouse in New York’s East Village, the neighborhood he’d made his home.
By the time of the EP’s release during the fall of 1993, Buckley had already entered the studio with Mick Grondahl (bass), Matt Johnson (drummer), and producer Andy Wallace and recorded seven original songs (including “Grace” and “Last Goodbye”) and three covers (among them Leonard Cohen’s “Hallelujah”, Benjamin Britten’s “Corpus Christi Carol”) that comprised his debut album Grace. Guitarist Michael Tighe became a permanent member of Jeff Buckley’s ensemble and went on to co-write and perform on Grace’s “So Real” just prior to the release of the album.
In early 1994, not long after Live At Sin-é appeared in stores, Jeff Buckley toured clubs, lounges, and coffeehouses in North America as a solo artist from January 15-March 5 as well as in Europe from March 11-22. Following extensive rehearsals in April-May 1994, Buckley’s “Peyote Radio Theatre Tour” found him on the road with his band from June 2-August 16. His full-length full-band album, Grace, was released in the United States on August 23, 1994, the same day Buckley and band kicked off a European tour in Dublin, Ireland; the 1994 European Tour ran through September 22, with Buckley and Ensemble performing at the CMJ convention at New York’s Supper Club on September 24. The group headed back into America’s clublands for a Fall Tour lasting from October 19-December 18.
On New Year’s Eve 1994-95, Buckley returned to Sin-é to perform a solo set; on New Year’s Day, he read an original poem at the annual St. Mark’s Church Marathon Poetry Reading. Two weeks later, he and his band were back in Europe for gigs in Dublin, Bristol, and London before launching an extensive tour of Japan, France, Germany, Italy, Holland, Belgium, and the United Kingdom which lasted from January 29-March 5. On April 13 1995, it was announced that Jeff Buckley’s Grace had earned him France’s prestigious “Gran Prix International Du Disque — Academie Charles CROS — 1995”; an award given by a jury of producers, journalists, the president of France Culture, and music industry professionals, it had previously been given to Edith Piaf, Jacques Brel, Yves Montand, Georges Brassens, Bruce Springsteen, Leonard Cohen, Bob Dylan, Joan Baez, and Joni Mitchell, among other musical luminaries. France also awarded Buckley a gold record certification for Grace.
From March 5 through April 20 1995, Buckley and his band rehearsed for an American spring tour with gigs running from April 22-June 2. From June through August, Jeff and company toured the United Kingdom, France, Denmark, Belgium, Germany, the Netherlands, Italy, and Switzerland. The band took off for Down Under to play six Australian shows between August 28-September 6, 1995. In November 1995, Buckley played two unannounced solo shows at Sin-é. He performed songs including the new “Woke Up In A Strange Place” on Vin Scelsa’s “Idiot’s Delight” show on WXRK-FM on December 17 and celebrated New Year’s Eve 1995-96 with performances at New York’s Mercury Lounge and Sin-é.
Jeff Buckley and his touring ensemble went back to Australia, where Grace had earned a gold record certification, for the “Hard Luck Tour,” which ran from February 9-March 1 of 1996. Drummer Matt Johnson left the group after the final Australian show. The posthumous album Jeff Buckley-Mystery White Boy brings together some of the high points from Jeff’s 1995-1996 live performances. The DVD/home video release Jeff Buckley-Live In Chicago documents, in its entirety, Jeff’s concert at The Cabaret Metro in Chicago on May 13, 1995.
In May of ’96, Jeff played four gigs as a bass player with Mind Science of the Mind, a side-project of Buckley’s friend, Nathan Larson of Shudder To Think. In September ’96, Buckley played another unannounced solo gig at his old favorite haunt Sin-é. December of 1996 found Jeff Buckley embarking on his “phantom solo tour”; designed to experiment with new songs in a live setting (as in his Sin-é days), these unannounced solo gigs throughout the Northeast U.S. were played under a succession of aliases: the Crackrobats, Possessed By Elves, Father Demo, Smackrobiotic, the Halfspeeds, Crit Club, Topless America, Martha & the Nicotines, and A Puppet Show Named Julio.
At midnight on February 9, 1997, Jeff Buckley debuted his new drummer, Parker Kindred, in a show at Arlene Grocery on New York’s Lower East Side. He also played a couple of solo gigs in New York during the first months of 1997: a gig at the Daydream Cafe (featuring band members Mick Grondahl and Michael Tighe as “special guests”) and a solo performance February 4 as part of the Knitting Factory’s 10-Year Birthday Party.
Buckley and his band had recorded intermittently — with Tom Verlaine as producer — during Summer/Fall 1996 and early winter 1997 in New York and in February 1997 in Memphis. After the conclusion of those sessions, Jeff sent the band back to New York while, during March and April 1997, he remained in Memphis and continued to craft his work-in-progress, making various four-track home recordings of songs to present to his bandmates. Some of these were revisions of the songs recorded with Verlaine, some were brand new compositions, and some were surprising cover versions. The new lineup debuted Buckley’s new songs at Barrister’s in Memphis on February 12 and 13. Beginning March 31, Jeff began a series of regularly scheduled Monday night solo performances at Barrister’s. His last show there was on Monday, May 26, 1997. The night Buckley died, he was on his way to meet his band to begin three weeks of rehearsals for My Sweetheart, The Drunk; producer Andy Wallace, who’d helmed the boards on Grace, was to join them in Memphis in late June to record his new album.
In addition to his Columbia Records releases, Live At Sin-é and Grace, Jeff Buckley has appeared as a guest artist on several other recordings. He can be heard singing “Jolly Street,” a track on the Jazz Passengers 1994 album In Love. He contributed tenor vocals to “Taipan” and “D. Popylepis,” two recordings on John Zorn’s Cobra Live At The Knitting Factory (1995). On Rebecca Moore’s Admiral Charcoal’s Song, Buckley plays electric six-string bass on “If You Please Me,” “Outdoor Elevator,” and “Needle Men” (on which he also plays drums). He both plays guitar and sings backup vocals on Brenda Kahn’s “Faith Salons,” a key track on her Destination Anywhere album (released 1996). Patti Smith’s critically acclaimed Gone Again album features Buckley adding “voice” to the song “Beneath the Southern Cross” and essrage (a small fretless Indian stringed instrument) to “Fireflies.” On Kicks Joy Darkness, a various artists’ spoken word tribute to beat poet Jack Kerouac, Jeff Buckley performed on “Angel Mine”; Jeff plays guitar, sitar, and mouth sax (adding words at the poem’s conclusion) on the track. Buckley can be heard reading Edgar Allan Poe’s “Ulallume – A Ballad,” on Closed On Account Of Rabies (Poems & Tales by Edgar Allan Poe) on Mouth Almighty/Mercury Records. He sang “I Want Someone Badly” (Epic) for Shudder To Think’s soundtrack to First Love, Last Rites. Sandy Bell, a friend of Buckley’s during his L.A. days, released the resurrected track “Hollywould” in 2000, which she co-wrote and recorded with Buckley. Several bootleg recordings of Buckley’s exist, including “All Flowers In Time,” written and performed with his dear friend Elizabeth Fraser.
An ardent enthusiast for a myriad of musical forms, Jeff Buckley was an early champion among young American musicians for the work of Nusrat Fateh Ali Khan, the world’s foremost Qawwali (the music of the Sufis) singer. Buckley conducted an extensive interview with Nusrat in Interview magazine (January 1996) and wrote the liner notes Nusrat’s The Supreme Collection album, released on Mercator/Caroline records in August 1997. On May 9, 2000, Columbia Records released Jeff Buckley-Mystery White Boy, an album of live performances, and Jeff Buckley-Live In Chicago, a full-length concert (available on DVD or VHS) recorded live at The Cabaret Metro in Chicago on May 13, 1995, in the midst of Jeff’s “Mystery White Boy” tour.
As stated, following the release of Grace on August 23, 1994, Jeff and his group spent much of 1994-1996 performing around the world on the Unknown, Mystery White Boy, and Hard Luck tours. The May 2000 release of Jeff Buckley – Mystery White Boy brought together, for the first time, some of the high points of those shows. Produced by Michael Tighe and Mary Guibert (Jeff’s mother) and Mystery White Boy provides an evocative cross-section of Jeff’s repertoire: previously-unreleased Buckley compositions, electrifying live interpretations of songs from Grace, and obscure and marvelous cover choices. The recordings heard on Mystery White Boy have been hand-picked from scores of concert tapes by Mary Guibert and the members of Jeff’s band who played such a large role in helping Jeff realize his musical vision.
According to Mary, the tracks on Jeff Buckley-Mystery White Boy are “the individual performances that represented transcendent moments from each of the concerts we’d identified as being in the ‘overall outstanding’ category.”
“It was obvious which performances were contenders for the record,” concurs Michael Tighe, “and in some cases a performance would be so supreme and unpredictable that I knew it had to be brought to the public.”
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In the years since Buckley’s death, his legacy continues to grow. His fan base include rock legends, new artists, loyal followers, and an entirely new generation of music lovers. Jeff’s only studio album in his lifetime, Grace, endures.
In addition to Grace, 1998 saw the release of Jeff’s unfinished album from his Memphis days, Sketches (For My Sweetheart The Drunk). The 2000 release of Jeff Buckley – Mystery White Boy was joined by a release of a live DVD performance at Chicago’s Metro Theater. In 2003, Sony Legacy released Live at Sin-e Legacy Edition and 2004’s Grace Legacy Edition, both of which featured rare tracks and outtakes from live performances. In 2007, the album So Real: Songs From Jeff Buckley was released, featuring remastered tracks for hardcore fans and audiophiles. In 2009, we saw Jeff performing on his album tour in the Live DVD Grace – Around The World. In 2014, to mark the 20th anniversary of Grace, 2000 limited edition Lilac Swirl 180-gram vinyl albums were released. A new album of previously unheard material, You and I, was released in March 2015. 2019 marked the 25th Anniversary of Grace, and the year-long celebration included several releases from Jeff’s catalog moving to streaming platforms, including the previously unreleased, last known original Jeff Buckley composition, Sky Blue Skin. We hope to see more highly-anticipated releases in the coming years”.
There are a lot of great filmed and radio interviews one can listen to and get a sense of who Jeff Buckley was. I would urge people, ahead of his upcoming fifty-fifth birthday, to do some Buckley digging. From those interviews to his overlooked songs and unfinished demos for his planned second album, My Sweetheart the Drunk, there is so much to appreciate. I want to include and quote from a 1995 interview Buckley was involved with in Italy. It is fascinating to hear him speak:
“In 1995, while working for an Italian radio station, journalist Luisa Cotardo conducted a candid, soulful, and profound conversation with beloved musician Jeff Buckley (November 17, 1966–May 29, 1997). His only studio album, Grace — which includes Buckley’s now-iconic cover of Leonard Cohen’s “Hallelujah” — had been released a few months earlier and he had just performed in the town of Correggio in Northern Italy as part of his European tour. Less than two years later, at the age of thirty, he would drown by a tragedy of chance while swimming in Tennessee’s Wolf River during a tour. Rolling Stone later proclaimed him one of the 100 greatest singers of all time.
Cotardo has kindly shared with me her recording of this rare and remarkably rich interview, in which Buckley discusses with great openness and grace his philosophy on music and life. Transcribed highlights below.
On why he chose not to include lyrics in the album booklet, a deliberate effort to honor music as a deeply personal experience interpreted and inhabited differently by each listener:
So that instead of people being compelled to read through the blueprint of the songs — instead of them looking at the dance steps ahead of time, they would just go through the dance. So that they would let the songs happen to them. Later on, they will find out what the meaning is, but for now — I mean, you know, we’re just meeting for the first time and it’s better… It’s better to grab your own reality from it right now instead of like, you know, read.
On what he seeks to communicate with his music, echoing composer Aaron Copland’s conviction about the interplay of emotion and intellect in great music:
[What I want to communicate] doesn’t have a language with which I can communicate it. The things that I want to communicate are simply self-evident, emotional things. And the gifts of those things are that they bring both intellectual and emotional gifts — understanding. But I don’t really have a major message that I want to bring to the world through my music. The music can tell people everything they need to know about being human beings. It’s not my information, it’s not mine. I didn’t make it. I just discovered it.
On the problem with Western charity efforts like LiveAid:
I would like for the starvation and oppression to end in Africa. I like for money from concerned people to go there, you know, to go to Africa, to aid. But … the real solution will come from Africa ruling Africa and not Britain ruling Africa, not America ruling Africa — it’s the only real key. If Africa rules Africa, that’s the only way that pattern of oppression from the outside can be stopped — not money, not only money. Money is a tool and it can be, I don’t know, I really don’t… It’s great that Mandela came out and took office in Africa. I think that’s the real revolution.
On place and what constitutes home and belonging for a global nomad like himself:
I don’t know what belonging means… I can only use my brain and intellectualize. I really wouldn’t able to tell you from the heart what belonging means… My memories of that place are my link to the place — memories of your experience in a place is your link… All people belong to the world. There is no exclusivity in that… The soil from America can differ from the soil in Malaysia, but its soil, it’s still the same. And the color of people’s skin can differ from place to place but it’s still skin. And, in that regard, there is no difference. People must belong to the earth and a traveller must belong to world somehow and the world must belong to her or him somehow. But, you know, then there’s the social level — that’s just the archetypal level, people usually live in the social level.
Echoing what Jackson Pollock’s father so poetically told his son in 1928, Buckley parlays this into his humble yet wonderfully wise advice on being in the world:
I have no advice for anybody except to, you know, be awake enough to see where you are at any given time and how that is beautiful and has poetry inside, even in places you hate.
On one’s journey of self-actualization and the organic letting go of dreams that no longer fit that journey:
It’s part of maturity, to project upon your life goals and project upon your life realized dreams and a result that you want. It’s part of becoming whole … just like a childish game. It’s honest — it’s an honest game, because … you want your life to hold hope and possibility.
It’s just that, when you get to the real meat of life, is that life has its own rhythm and you cannot impose your own structure upon it — you have to listen to what it tells you, and you have to listen to what your path tells you. It’s not earth that you move with a tractor — life is not like that. Life is more like earth that you learn about and plant seeds in… It’s something you have to have a relationship with in order to experience — you can’t mold it — you can’t control it…”
Before wrapping and giving my thoughts regarding Jeff Buckley and what he means to me, it is wise to get a sense of what people make of the masterful Grace. In 2011, the BBC reviewed an album that is still being referenced as one of the all-time greats:
“While Jeff Buckley’s sole complete studio document has achieved two million sales worldwide since its mid-90s release, its impact at the time was far from impressive. And that’s from both critical and commercial perspectives, as although today it’s regularly held in high regard come top-albums lists, a mixed reception greeted it on its initial emergence.
Listening today, almost 17 years to the day after that first release, it’s easy to hear why reviewers weren’t universally moved by Grace. Its best-known track isn’t even one penned by Buckley, Hallelujah being a cover of Leonard Cohen’s haunting masterpiece. Nor is Corpus Christi Carol an original, Buckley interpreting the work of celebrated British composer Benjamin Britten via opera singer Janet Baker. One could argue that Buckley makes these pieces his own – and they certainly fit with the elegiac tone of what surrounds them. But for a fifth of such a posthumously acclaimed collection to be reinterpretations doesn’t allow it to sit all that easily in the pantheon of untouchable pop/rock canon classics.
The posthumous aspect of Grace’s continuing appeal is of key importance – if he hadn’t died, aged 30, in 1997, the chances are that Buckley would have taken the incredible promise showcased here and transformed it into material to place these efforts in the shade. Resultantly, Grace exists in a vacuum, with no material of particular note to trouble it as its maker’s definitive musical statement. Instrumentally, little is remarkable – surely Buckley would have explored new textures, bringing greater life to his music. But his vocal is mesmerising, and it’s this element of Buckley’s performance which has best stood the test of time. It is unique amongst artists, from the rock and pop spectrum and well beyond, defying prosaic pigeonholing. Hear it once, and it will stay with the listener forever.
As the son of Tim Buckley – who also died far too young – Jeff was always going to find it difficult to escape his father’s shadow and establish himself as a singular talent. Grace, though, was a remarkable first step – inconsistent certainly, but blessed with moments of arresting, beguiling beauty. It takes most of its compositional cues from fairly classic rock sources (Led Zeppelin, Pink Floyd), but Buckley’s vocals – committed, sincere, stop-you-in-your-tracks intense – marked him as an artist to follow intently. What a tragedy that he was never able to develop further the epic potential of this worthy debut”
I was fourteen when Jeff Buckley died. I am not sure whether I was aware of him at the time - though it was not that long after when I connected with his music. I would have given anything to have been one at his gigs! Whilst Buckley might not have been prolific now and putting out a lot of music, you know he would be appearing here and there and lending his talents to another artist’s work. Rather than mourn his loss and speculate how far he could have gone; I think his upcoming fifty-fifth birthday (17th November) should be a chance to celebrate his work. An artist like no other, the great Jeff Buckley is…
AN angel that we all miss very much.