those long convinced that Tim Buckley ranks among the 20th
century's most innovative singers and musical visionaries
find these newly-discovered tracks from manager Herb Cohen's
vaults a jaw-dropping revelation.
from the five sets performed over two September 1969 days
at LA's Troubadour that produced 2001's Live
At The Troubadour, they further affirm that, like other
great jazz singers, Buckley never sang a song the same way
twice, reaching for unknown heights as his telepathic band
coloured in his iridescent vapour trails.
was at a creative peak in autumn 1969, evolving from the
jazzy shimmer of Happy Sad and getting excited about soon
recording Lorca, his most revolutionary (but overlooked)
Mating Call boasts the latter's prototypes, including
a time-stopping Driftin' that could be his most breathtaking
performance on any record anywhere. He also unveils Blue
Melody and Chase The Blues Away from the recently-recorded
Blue Afternoon, rejuvenates some Happy Sad numbers and showcases
songs he'd never record.
The crucial point made here is that the studio was where
Buckley had to make a record while, the remarkably-conceived
Lorca excepting, live performances were where he could release
the music in his head, unfettered and free as a bird.