April, 1970
Buckley's
Yodeling Baffles Audience By
Michael Cuscuna Philadelphia
--Tim Buckley seems to be forever changing his style and his group
both on record and in personal appearances. To the dismay of the audience recently
assembled at the University of Pennsylvania, Buckley has hit upon a whole new
musical orientation. The
concert informally opened with wandering sounds and dissonant noodling from his
new band (trumpet, bass, drums and, of course, Lee Underwood on guitar). Buckley
strolled out, and soon the group was racing into Gypsy Woman. But Gypsy
Woman never sounded like this! Disjointed
tempo changes, improvised choruses, extensive use of gong, wooden flutes, bells
and other little percussive instruments, and all the while Buckley shouting and
purring, yodeling and screaming. That song lasted for well over twenty minutes
to close the first half of the concert.
The crowd, confident that the old familiar
Tim Buckley had returned to them, began to call out obvious requests, How about
Buzzin' Fly? et cetera. The offended or annoyed performer retorted, "How
about horseshit?"... | An
educated guess might be that Buckley has become fascinated with Pharaoh Sanders
and Leon Thomas' avant-garde jazz hymn/celebration, Karma. All of the characteristic
elements were there: an extended and sectional work, use of a jazz horn and odd
percussive instruments, the vocal yodeling for which Leon Thomas is famous. At
any rate the audience sat baffled and dismayed. But
the singer relieved their confusion by opening his second set with Pleasant
Street, Morning Glory and Blue Melody. The crowd, confident that the
old familiar Tim Buckley had returned to them, began to call out obvious requests,
How about 'Buzzin' Fly'? et cetera. The offended or annoyed performer retorted,
How about horseshit? It
may just be coincidental that he then launched into a tasteless monologue which
consisted of snatches from various Ken Nordine riffs in the Word Jazz series on
Dot. Backed by the free improvisations of his new band, Buckley exhibited little
respect for or understanding of Nordine by butchering the man's work terribly,
misplacing inflections, leaving out key lines and crushing its subtleties. Wham!
Into another long performance complete with gongs, cocktail lounge trumpet clichés,
fantastic, empathic duets between Buckley and Underwood and wailing, yodeling
vocals. Beginning at Happy Sad by way of Karma, Tim Buckley seems to be
developing a new form and format in which to present his songs, one that incorporates
many elements of contemporary jazz. But
his audience on that night didn't care much; they were just disappointed and confused.
And according to Straight Records' press release, Buckley's next album will be
an Afro-Cuban-jazz-Motown extended suite!
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