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Although his birth certificate reads “Jeffrey Scott Buckley,” his family had called him Scotty and used the surname Moorhead (from his stepfather Ron) as Jeff was growing up. Mary Guibert explained how she chose Jeff’s name in correspondence with Carol, the original Jeff Buckley mailing list administrator:

“OK! Here’s the REAL scoop on Jeff’s name. (Now, keep in mind that I was only 18 years old…there is no deep underlying meaning). I’d had a friend named Jeff (he spelled it “Geoff”) and I thought it was a groovy name. John “Scotty” Scott was our next door neighbor and a childhood hero, who’d been killed in an accidental fall the year before my son was born. I’d wanted to call my son Scotty, but Scott Jeffrey didn’t sound as good as Jeffrey Scott. So we just called him “Scotty” anyway. Moorhead is his stepfather’s name and when Scotty was enrolled in kindergarten, I was allowed to indicate a “preferred name” – my husband and I thought it would spare him confusion, especially since his biological father was completely out of the picture. Everyone knew him as Scotty Moorhead. Jeff chose to change his registered name after Tim Buckley died. The circumstances surrounding that decision are entirely too private and personal to share here, but I was totally supportive of this choice.” –Mary Guibert

In homage to his late father and because of a desire to be more real about the circumstances of his life, Jeff chose to go by his given name. He explains why in a 1994 interview entitled “Village Voice:”

“I used to be Scott Moorhead, until the time I was, I don’t know, 10. Kids call you stuff like Scotty watty doo-doo snotty, Scotty potty, snot Dopehead. And I was sick of that. My mom had been long divorced from my step father, and I said, ‘Who am I really, Ma?’ So I took a look at the birth certificate, and it said ‘Jeffrey Scott Buckley.’ I said, okay – I’m choosing who I am.” He laughs. “Besides, it didn’t help matters any – Buckley, Buttlick, Fuckley …” –Jeff Buckley14

While the members of his family still fondly call him Scotty, the world knows him as Jeff Buckley.

14 Smith, Chris. “Village Voice.” New York, November 14, 1994, Volume 27, pp. 68-72.[/accordion-item]
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Jeff Buckley had an ethereal voice and an incredible vocal range. He was a tenor capable of reaching a falsetto* pitch. A tenor’s range in the bass clef spans middle C to high F. Jeff’s actual range was four octaves.3

Jeff’s vocal style was significantly influenced by Mahalia Jackson, Ella Fitzgerald, Robert Plant, and Freddie Mercury. Jeff was also an enthusiastic admirer of Nusrat Ali Fateh Ali Khan:

“He’s my Elvis.”1 — Jeff Buckley

* Falsetto
(n.) An unnaturally or artificially high-pitched voice or register, especially in a man. (Webster’s College Dictionary, Random House, New York, 1991.)

Russ Fuller received an e-mail from a vocal student at the University of Queensland named Mirko. She shared this insight after studying Jeff’s voice:

“Jeff Buckley was a light lyric tenor. His very different registers were blended marvelously. His chest, voice, and head voice were perfectly integrated. His falsetto was good, too, and his fluctuating between falsetto and head voice is something most singers are very jealous of. His tessitura (or comfortable singing range) was between E below middle C, which he often started verses on- (“Grace”, “Lover …”, “Last Goodbye”), and the notes D right above middle C and F# just above that- in most of his choruses. He also used his high A frequently. A typical lyric tenor tessitura. In other words, to the unacquainted, the same range as Pavarotti. Except, Jeff was very fond of the alto register, which he would exploit in falsetto, or coordinated head voice (a fuller, wailing type of voice).

“His lowest note was on a live version of “Dream Brother” (on the Australian Grace album pack- it must have been the weather!) and it was the second A below middle C — this is quite low for a high tenor voice. He loved to wail in head voice on the high E, which he did on half the songs on Grace, but mysteriously stopped doing them on Sketches

…. This was high “showstopper” note, I guess. For example, in “So Real”, at the outro, he sings the high E, and then scoops up to the High F# , this is very high, even for a tenor. And it’s not in falsetto — falsetto is quite easy to do for most male voices. No, this is in a coordinated head voice — that’s a full sounding voice — very difficult to do (or at least sustain) at that pitch! Jeff’s head voice (not falsetto) was quite unique.

He could sing in an alto range quite effectively- check out “Strange Fruit” on the “Man in the Moon” session — breathtaking; or the Edith Piaf cover on Live at Sin-é. And evidently his voice wasn’t up to scratch on the day of the “Man in the Moon” sessions.

“His highest note is on the B-sides on Sketches … on the track “Gunshot Glitter.” It’s an Eb above the soprano high C!!!! This is coloratura (high agile soprano) territory! It’s kind of a squeaky falsetto note- only for a second, but it’s technically phenomenal- it sounds like he was just playing around. Another phenomenally high passage is in the jazz scat in ” The Way Young Lovers Do” on Live at Sin-é. He actually gets into the super-register, normally reserved for trumpets!

“Anyway, his voice was magnificent. And his breath control was phenomenal- the sustained notes in “Mojo Pin” are very, very hard to sustain the way he does.”*

3 Guitar Player, March 1994, Volume 28, Issue 3, Page 120
1 Dye, David. “World Cafe.” WXPN Interview, Winter 1993/94
* Wilkins, Kim “Mirko,” 26 Oct 1998.

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Jeff’s public debut occurred in New York City at the tribute performance for Tim Buckley at St. Ann’s Church on April 26, 1991, organized by Hal Wilner (whom Jeff later worked with on the Edgar Allen Poe spoken word collection Closed On Account Of Rabies).

Jeff was not billed as a performer because he did not want to use that performance as a stepping stone for himself, but to pay his respects to Tim.
“This is not a springboard. This is something very personal.”1 — Jeff Buckley

Jeff performed “I Never Asked To Be Your Mountain” with Gary Lucas accompanying him on guitar. He then left the audience hushed with an a cappella performance of “Once I Was.”

“Technically, the tribute will be seen as my debut in New York — which it really wasn’t.

“It wasn’t my work, it wasn’t my life,” Jeff recalls. “But it bothered me that I hadn’t been to his funeral, that I’d never been able to tell him anything. I used that show to pay my last respects.”2

— Jeff Buckley

1 Dye, David. “World Cafe.” WXPN Interview, Winter 1993/94
2 Diehl, Matt. “The Son Also Rises: Fighting the Hype and Weight of His Father’s Legend.” Rolling Stone, October 20, 1994, Issue 693, Page 69

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[accordion-item title=”What is Jeff’s musical history?”]

Jeff Buckley was imbued with a love of music by his mother and credits the first album he ever owned, Physical Graffiti by Led Zeppelin, as coming from his step-father. After a childhood that was inundated with music, Jeff moved to Los Angeles when he was eighteen. While in LA, Jeff graduated from the Musicians’ Institute’s two-year course. Jeff often described his time at the Institute a “waste,” yet he made some life-long friends there.

Jeff’s diverse musical background was reflected in the bands in which he participated before going solo. In LA, he was in the reggae band Shinehead. Jeff moved to New York in 1990. Jeff met guitar legend Gary Lucas when Hal Wilner had arranged for them to perform together at Saint Ann’s Church at the tribute for Tim Buckley in April 1991. Shortly thereafter, Lucas invited Jeff to join his band Gods and Monsters.

Jeff left Gods and Monsters in 1992, after only a couple performances. He then took to performing solo shows in small cafes in New York City. Jeff’s most notable and abundant performances were at Sin-é, an “Irish joint” on St. Mark’s Place in the East Village. He did mostly covers to hone his skills and confidence in performing. Jeff was discovered by Columbia executives while performing at Sin-é. In October of 1992, Jeff signed a contract to record with Columbia Records.

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What and where is Sin-é?

Sin-é was an Irish cafe at 122 St. Mark’s Place in the East Village, New York City just off Avenue A. Shane Doyle, who now owns Arlene Grocery, was the owner of Sin-é.

Sin-é, in Gaelic (the ancient Irish tongue) means “that’s it.”

Why did Jeff perform so much there?
Jeff performed so much at Sin-é and the other small venues to “develop myself and get grocery money.”4 The cafe setting provided him with a place to hone his performance skills. There was a laid-back atmosphere where Jeff felt comfortable and was able to explore his talent and learn his trade.

Buckley has also quipped that the real motive for these early solo performances was “to attract the perfect band.”2

4 Morning Becomes Eclectic. KCRW Interview
2 Diehl, Matt. “The Son Also Rises: Fighting the Hype and Weight of His Father’s Legend.” Rolling Stone, October 20, 1994, Issue 693, Page 69

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Appearing on the Peyote Radio Theatre promo CD, is the Nag Champa mix of “Dream Brother.”

The Nag Champa mix of “Dream Brother” features the tabla (played by Misha Masud), giving it a more Eastern tone. A tabla is a small Indian hand drum.

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Peyote Radio Theatre (PRT) is a three-song promotional CD that was distributed to some radio stations and record stores prior to the release of Grace in 1994. The disc contains “Mojo Pin” from Grace, as well as a cover of the Big Star song “Kanga-Roo,” an extended live jam of which was performed on many occasions by Jeff and the band.

Peyote Radio Theatre is also Jeff’s business name for his corporation. Stenciled on all his band’s cartage was “Property of Peyote Radio Theatre.”

What is the Nag Champa mix of “Dream Brother?”
Also on the Peyote Radio Theatre promo is the Nag Champa mix of “Dream Brother.” The Nag Champa mix of “Dream Brother” features the tabla (played by Misha Masud), giving it a more Eastern tone. A tabla is a small Indian hand drum.

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“I saw Jeff play at Sin-é in NYC and spoke with him after the show and gave him my screenplay. A couple of days later we had breakfast and discussed doing the music, then he just gave me a tape. It included 3 acoustic guitar tracks, which is what I wanted. Later, once the film was finished, Jeff and his band did a recording which eventually became ‘Tongue.’ I also used ‘Dream Brother’ in the end credits.”

— John Sullivan
Writer/Director
Sleepover

“Tongue,” which was released on the Japanese import single for “Last Goodbye,” is a very long, spacey, ambient Brian Eno-esque piece circa perhaps Music for Airports only rougher. It is similar in feel to spacey jams such as the “Nag Champa Mix” of “Dream Brother” on Peyote Radio Theatre [promo CD].
— New York Magazine

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Columbia Records (Sony) released Jeff Buckley’s first posthumous release, Sketches (For My Sweetheart The Drunk), on Tuesday, May 26th in the US. The international pressings of Sketches were all released earlier in May. All international pressings include the non-US track “Gunshot Glitter,” culled from the four-track recordings Jeff made in the spring of 1997 in Memphis. The details of the specific releases are below.

Details on Sketches and the “Everybody Here Wants You” singles are listed on the Albums and Singles pages of the discography, respectively.

How many releases of Sketches are there?
So far, Sketches has been released in four different pressings, each with subtle differences. The different versions are as follows, in order of release:

(released Tuesday, May 5th )
Australian – 21 tracks including “Gunshot Glitter” (disc 2, #7), including lyrics, not including multimedia

(released Tuesday, May 12th )
Euro – 21 tracks including “Gunshot Glitter” (disc 2, #7), including multimedia, including lyrics (this pressing *may* be limited edition)

(released Thursday, May 14th )
Japanese – 22 tracks including “Gunshot Glitter” (disc 2, #7), and “Thousand Fold” (disc 2, #11), plus limited edition extra picture booklet and separate lyrics booklet in an extra-thick 2CD jewel case. There is no multimedia on the Japanese pressing.

(released Tuesday, May 26th)
US/Canada – 20 tracks (not including Gunshot Glitter), with multimedia, without lyrics

What does “My Sweetheart the Drunk” refer to?

“My Sweetheart the Drunk” was the working title that Jeff Buckley was using while writing and recording the album. The title was mentioned in a poem that Jeff had written titled “Sexpot Despair.” The album that will be released is called Sketches because Jeff’s work was not finished, therefore it is just a “sketch” or outline of what would have been released, had Jeff been able to complete this project.

Andy Wallace remembers the title being discussed: “[Jeff] described the album to me as a guidebook for losers in love.”7

What was Jeff planning for My Sweetheart the Drunk?
When Richard Kingsmill from Australia’s JJJ (a youth-oriented, government-run radio station) asked Jeff in December 1995 what we should expect, Jeff replied:

“… a really radical evolution from Grace, just because we’ve been together as a band for so much longer than that. On Grace, we had just been together for maybe five weeks and Michael [Tighe] wasn’t even in the band. And now everybody really has a really integral part in the way the music’s made. It’ll be better.”10

How did Chris Cornell get involved with this project?
Chris Cornell is another long-time friend of Jeff’s, and was invited by Mary Guibert to produce Sketches. Jeff and Chris were admirers of each other’s work, and Cornell is a respected musician and producer in his own right.

How did Tom Verlaine become involved with My Sweetheart the Drunk?
Jeff had met Tom Verlaine in 1996 when they had both made guest appearances on Patti Smith’s Gone Again. There were three recording sessions for what would have been My Sweetheart the Drunk: one in Manhattan in the summer of 1996, another in Manhattan in early 1997, and the last in Memphis shortly after, in 1997.

From where were the recordings on Sketches taken?
The first CD features the recordings taken from the sessions Jeff and the band had done with Tom Verlaine, founding member of the legendary and influential band Television. These sessions had been scrapped because Jeff was not satisfied with their outcome.
Shortly before his passing, Jeff personally contacted Grace producer Andy Wallace, to replace Verlaine as the producer for what would have become My Sweetheart The Drunk. The second CD features Jeff’s home 4-track recordings, the demos in preparation for these planned sessions with Wallace.

Will singles be released?
“Everybody Here Wants You” was released as a two-part single in the U.K., as well as a single and a two-part digipak in Europe.

Will the lyrics be made available?
The lyrics are currently included in the international releases of Sketches and available in the Jewel Box Download.

From where does “Yard Of Blonde Girls” come?
“Yard of Blonde Girls” is a cover of a Nymphs song. Jeff first worked with Nymphs member Inger Lorre on the Jack Kerouac tribute album Kicks Joy Darkness. Jeff provided music (on guitar, sitar, and mouth sax), while Lorre did a reading of “Angel Mine.” Lorre also contributed guitar and keyboards, and Jeff ended the reading with a vocal ad-lib on the outtro. The track was recorded at Spa Recording Studios, NYC.

How is Bill Flanagan involved with Jeff Buckley?
Bill and Jeff had met at the 1991 Tim Buckley tribute at St. Ann’s in New York. He had written a number of articles about Jeff Buckley throughout his career. But, Bill Flanagan’s role was not only journalist, he was a very sincere Jeff Buckley fan. Shortly after the Tim Buckley tribute, Flanagan published an article in Village Voice. Jeff had this to say about the article:

“My friend Bill Flanagan wrote this really loving article about me.” 1

Shortly after Jeff’s disappearance, Bill Flanagan, who is also the author of the liner notes for Sketches, wrote a touching article for the Village Voice.

In February of [1997], Buckley introduced a set’s worth of new songs at the Knitting Factory. Many were exceptionally good. Lou Reed was in the audience and he said he’d like to work with Buckley. Tom Verlaine was also there and signed on to produce his demos. That week David Bowie was quoted in Pulse magazine calling Grace one of the 10 albums he’d bring with him to a desert island, and Jimmy Page was on the cover of Mojo holding up Grace and calling it “The best thing I’ve heard all year.” When all this was mentioned to Buckley he laughed and said yes, he had built a great following among 50-year-old rock stars.
Jeff Buckley was quick, funny, and self-deprecating. He wanted to stick around and become one of those 50-year-old musicians himself. Imagine if Springsteen had died after only recording Greetings From Asbury Park. All of Buckley’s best work was in front of him. We had heard just enough to be hungry to see where his talent would take him. It is heartbreaking that we will never know.11
— Bill Flanagan 06.10.97

What is the significance of ending Sketches with “Satisfied Mind”?
Jeff’s mother decided to end the album as Jeff’s memorial service ended, with a tape of him singing “Satisfied Mind.” It’s a good reminder that music for Jeff was, more than anything else, a source of joy.12

7 Irvin, Jim. “It’s Never Over.” Mojo, August 1997, Issue 45, Pages 32-38
10 Kingsmill, Richard. Triple J Radio Interview. December 1995.
1 Dye, David. “World Cafe.” WXPN Interview, Winter 1993/94
11 Flanagan, Bill. “Jeff Buckley Missing, Presumed Dead.” Village Voice, June 10, 1997, Issue 23, Page 62
12 Flanagan, Bill. Sketches liner notes, New York, February 1998

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What did Jeff think about doing videos?

“I’m not making a video for [Grace]. I love visuals and I will do something visual. I mean I’m totally in love with them, but they’re commercials for the album and I wouldn’t want that to be the object. Actually, everybody, stay away from the television. Just get a book. Turn on the radio.”1 — Jeff Buckley

What JB videos have been filmed?

Professionally produced videos seen publicly on MTV, albeit rarely, were:

“Grace” directed by Ernie Fritz (in 1994)
“Last Goodbye” directed by John Jesurin (in 1995)
“So Real” directed by Sophie Muller (in 1995)
“Everybody Here Wants You” directed by Ernie Fritz (in 1998)

Also produced as promotional media was the Grace Electronic Press Kit (long and short versions). The EPK is a ‘mini-documentary’ of Jeff and of the making of Grace. There is also promotional material that includes live videos of “Eternal Life” and “What Will You Say.”

Incidentally, out of all of the videos that Jeff made, “So Real” was his personal favorite and the one that he was most proud of. The “So Real” video was played at his memorial in August 1997, in Brooklyn Heights, NYC.

1 Dye, David. “World Cafe.” WXPN Interview, Winter 1993/94

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[accordion-item title=”Why is Barristers’ significant?”]

Barristers’ Bar is located on Jefferson Avenue, a small alley in Memphis. Jeff had played there solo on February 12th and 13th, 1997, and set up a Monday-night residency starting March 31st, 1997. Jeff played there to debut his new songs and work them out. Jeff’s final performance was at Barristers’ on May 26, 1997.

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Jeff Buckley had a black Les Paul that was one of his favorite guitars, but he (and Michael Tighe) would very often play Fender Telecasters. Both players ran biamped into Fender Vibroverbs and Mesa Boogie Dual Rectifier combos. Buckley used an Alesis Quadraverb for shimmering, church-like textures.13

Other guitars that Jeff toured with include a red Rickenbacker, and a miked Gibson acoustic guitar.

In one case, what appeared to be a precious piece of Jeff’s gear, really wasn’t his own. The cream-colored Fender Telecaster that Jeff often used was borrowed from a St. Ann’s Arts staff member in 1992. The Telecaster was returned to the staff member the night of the public memorial, August 1, 1997.

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A complete list of the equipment that Jeff and the band used was provided by Jack Bookbinder and Gene Bowen (Jeff’s former tour manager) at Fun Palace Entertainment:

HARDWARE ITEMS:
(used by Jeff Buckley and band…drum sets varied)

24x24x19 Mesa bass head
40x22x35 drum case
33x34x42 Mesa 4×12 guitar cabinets (2)
33x34x42 Mesa 4×12 guitar cabinets (2)
Rack effects box
48x29x43 drum case
Samson MPL 1640 16 channel audio mixer
Empty kick drum case
Tama floor tom drum w/ soft case
Tama 12″ tom drum
Tama bass drum w/ soft case
Art Master MIDI master control foot pedals Quantity = four (4)
25x19x42 Mesa 4×10/1×15 (Bullet) bass cabinet
39x23x25 Mesa 1×15 bass monitor
Crate Vintage/Club 50 Amps (2)
Fender Bassman 135 head amp

DISPOSABLE EQUIPMENT USED:
Strings:
Dean Markley (Blue Steel) for electric
Dean Markley (Brass) for acoustic
Cymbals: Zildjian
Drum Heads: Remo
Picks: Tortoise

EFFECTS/EFFECTS PEDALS USED BY JEFF AND THE BAND:
Boss Hyper Fuzz
Boss power supply & master switch
Dunlop Tremolo volume pedal
MXR Fuzz Unit
MXR Blue Box
DOD Buzz Box
Morley A/B Switch Box
Real Tube Overdrive
Marshall Drive Master
Digitch Whammy II with Microphones
Hi band Flanger
Whirlwind A/B boxes
Mesa Rectifier Switches
Boss Chromatic Tuners
TC Electronic Stereo Chorus
Electrro-Harmonix Hot Tubes Overdrive Simulator
Boss Power supply and master switch
Stewart Direct Boxes

LISTING OF GUITARS OWNED AND USED BY JEFF:
Indian string sitar with bow in wooden case
Fender Jaguar cream color electric guitar
Yamaha acoustic guitar fg-470S w/ case
Ibanez Talmar green color electric guitar
Dobro guitar w/ case
Fender Jazz bass black color electric
Hagstrom I black electric guitar
Rickenbacker 12 string sunburst electric (OTHER MAIN GUITAR)
Les Paul black electric guitar
Silhoutti Musicman black electric guitar
Transfer flower electric guitar
Fender Telecaster – cream color / on borrow from friend at St. Ann’s (MAIN GUITAR)

13 Rotondi, James. “The Power Of Grace.” Guitar Player, April, 1995, Volume 29, Issue 4, Page 21

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Juliana Hatfield, Brenda Kahn, Stavin Chain, Soul Coughing, Jewel, Shudder to Think, The Dambuilders, The Grifters, Ben Mullins, Catherine Wheel, Marianne Faithfull, Crow (Australian band), Cactus Child (opened at the Selina’s gig), Jan Hellriegel and band (in New Zealand), Mash-O-Matic (Memphis, Barristers’) …. More bands to come …

Contrary to popular misconception, Jeff did not tour with Soundgarden. They did, however, share the bill at Summerfest ’94 in Milwaukee.

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Jeff and his band’s final Australian performance was at Selina’s, Coogee Bay Hotel March 1, 1996. This was also Matt Johnson’s final performance with the band. There are known bootlegs that have been exchanged among fans, but not commercially available.

The set list includes many of the newer songs that Jeff and his band had been working on such as “Mood Swing Whiskey,” “All Flowers in Time” and an early instrumental version of “Vancouver.” It has been noted that Mick Grondahl sang on “Edna Frau.”

Set List:
Mood Swing Whiskey
Dream Brother
Mojo Pin
Last Goodbye
Lilac Wine
Grace
So Real
Eternal Life
What Will You Say
Kick Out The Jams
Edna Frau
Woke Up In A Strange Place
Lover, You Should’ve Come Over
All Flowers In Time
The Dink Song (Fare Thee Well)
Encore

Hallelujah
Vancouver (instrumental)
Kanga-roo

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Through Jeff’s friendship with Nathan Larson, he became involved with the First Love, Last Rites soundtrack. Larson, along with Craig Wedren and the rest of Shudder to Think, wrote and performed the music for the soundtrack to Jesse Peretz’s film. Jeff sings on the track “I Want Someone Badly.” Other guest performers on the soundtrack include Liz Phair, Billy Corgan, Robin Zander, and Nina Persson.

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The Sin-e’ outtakes are a Jeff Buckley Music, Inc. exclusive online RealMedia streaming presentation of unreleased audio tracks of in between song banter taken from master recordings used for “Live at Sin-e, the Legacy Edition”.

The featured dialogue clips are not available on the official release and can only be heard exclusively on www.jeffbuckley.com during special presentations such as online birthday celebrations.

The files are priceless intimate moments, captured in time, which took place between Jeff and the audience, during performances that took place at Club Sin-e’. Jeff is telling stories, joking with the audience and doing impressions.

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The Rock & Roll Hall of Fame and Museum featured a Jeff Buckley exhibit. The exhibit was on display for two years.

Items on loan from the Estate of Jeff Buckley included Jeff’s black wool coat, jodhpurs, white V-neck T-shirt and handwritten lyrics and poems.

Additionally, Jeff’s Gibson Les Paul guitar is a permanent donation from the Estate and will be displayed in the museum’s main lobby display case permanently alongside artifacts of Roy Orbison and others. The display is the only free tribute open to the public.

Address:
Rock and Roll Hall of Fame and Museum
One Key Plaza
Cleveland, Ohio 44114
(East Ninth Street at Lake Erie)

Visitor Info at: http://www.rockhall.com/museum/visitor.asp
The R&R Hall of Fame Website is located at http://www.rockhall.com

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The original members that formed Jeff Buckley’s band (“The Three M’s,” as he lovingly referred to them) were Mick Grondahl on bass, Matt Johnson behind the drum kit, and Michael Tighe playing rhythm guitar.

Jeff met Mick Grondahl after performing at the Post Crypt Cafe at Columbia University in New York.4 A musical relationship formed after jamming together late into the night.

Drummer Matt Johnson and Jeff had done the music for “Dream Brother” the first time they met without really knowing each other, but it just “clicked.”Matt Johnson left the band after the final date of the Australian “Hard Luck Tour” in March of 1996.

An actor in his own right, Michael Tighe had not been in a band before he auditioned for the slot of a second guitarist for the Grace tour. Michael’s acting work can be seen in the 1994 movie Postcards from America, along with his little brother Olmo Tighe. Michael ended up writing the guitar line that spurred “So Real,” which was recorded in Los Angeles while on tour. Up until that time Michael had appeared in theatrical performances in NYC.

Parker Kindred debuted as the band’s new drummer in his only live performance with the band at Arlene Grocery, New York on February 9th, 1997. Parker did, however lay down most of the drum tracks for the Verlaine sessions for My Sweetheart the Drunk in early 1997. Eric Eidel contributed drums on “The Sky Is A Landfill,” “Morning Theft,” and “Vancouver.”

The members of Jeff’s band have immersed themselves in projects and bands since Jeff’s death. Michael Tighe and Mick Grondahl have toured and played with Elysian Fields.

Parker Kindred and Michael Tighe toured with Those Bastard Souls in Spring 1999 to support the release Debt and Departure. Michael Tighe (guitar) and Parker Kindred (drums) went on to play in the band Black Beetle. Black Beetle also featured Jeff’s former girlfriend Joan Wasser who co-wrote the band’s songs with Tighe. In the early 2000’s, Parker and Michael went on to play in the band The A.M. and released a full length self-titled album distributed throughout Europe.

Parker has also played drums for Adam Green, Grand Mal, Luke Temple, and Antony and The Johnsons. Michael toured with Grammy award winner Mark Ronson and was a guest singer (under the alias Tiggers) on his 2007 release Version. Michael is currently recording his debut solo album. Grondahl has been recording music with his band Tongue in Copenhagen. And Matt Johnson has been playing drums for John Mayer, Rufus Wainwright, Martha Wainwright, Beth Orton, Duncan Sheik and others in the studio and on stage.

Matt appears on Sheik’s album Humming and toured with Duncan. Take note of the track “A Body Goes Down,” on which Matt Johnson plays. It is a tribute to Jeff penned by Sheik. “Though both Jeff and Duncan are performing composers, I believe their natural emphasis to be noticeably different,” Johnson said. “I often think of Duncan’s voice as a vehicle for his compositions, and Jeff’s compositions as a vehicle for his voice.” In 2010, Matt Johnson has moved forward with his own projects, like his new solo album Cagefighter and the forthcoming release Law of the Land.

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Since Jeff Buckley’s death, there have been quite a few songs written in tribute to him by artists who consider themselves fans.

Juliana Hatfield’s “Trying Not to Think About It” from 1997’s Please Do Not Disturb

Duncan Sheik’s “A Body Goes Down” from 1998’s Humming
When asked if it was a conscious thing to give an eastern flavor to the song:

“Definitely… I know that he was, like, a big fan of Nusrat Fateh Ali Khan and he was listening to a lot of that kind of music. There’s also just a really mournful quality to that kind of string playing.”14

Zita Swoon’s (of Antwerp, Belgium) “Song for a Dead Singer” on 1998’s I Paint Pictures on a Wedding Dress

Chris Cornell’s “Wave Goodbye” on his 1999 solo album, Euphoria Morning

Sister 7’s (Austin, Texas) “By Yourself”, which they often play live

Heather Nova’s “Valley of Sound” from 1998’s Siren

Ron Sexsmith’s “In a Flash” from Whereabouts

Aimee Mann’s “Just Like Anyone”:

“This is a song I wrote when Jeff Buckley died…I hadn’t known Jeff extremely well, but we kept bumping into each other here and there. One night we met for a drink at a pub in NYC, and started writing messages to each other on a paper place mat that was there, instead of talking, because the music in the bar was really loud or something. An interesting effect of that was that we found ourselves writing things that we would never would dare to say to each other out loud. I remember thinking that he seemed to be sort of lost and sad although he outwardly was very funny and lively and confident, and wrote something about that, among another things. I didn’t talk to him for a long time after that-I went to England to live for a while and we talked once or twice and then nothing for over a year. Then one night I got a voice mail message from him that said, “I just realized what you were trying to tell me that night”. I tried to call him back but the number I had for him was old, and then I got his new number but I was out of town again and it was difficult to call, and then I heard that he was missing, and presumed dead.” — Aimee
Albums dedicated to Jeff’s memory include:

Nusrat Fateh Ali Khan & Party – The Supreme Collection Volume 1:
“This album is dedicated to the memory of Jeff Buckley.”

Brenda Kahn – Hunger
“I would also like to thank my friend Jeff Buckley who showed me how pure music could be, how to seek joy and embrace life, and to dedicate this record to the memory of him.”

Gary Lucas – At Paradiso
“This project is dedicated to the memory of Jeff Buckley”

Penny Arcade – Bad Reputation
“Dedicated to the spirit, beauty, and force of love that is Jeff Buckley (1966-1997) — you saw it coming, you laid the groundwork, I know you hear it.”

Furthermore, even more artists have paid homage to Jeff on stage. Bono of U2 sang pieces of “Hallelujah” in various cities during the 1997 Pop Mart tour. Natalie Merchant has sung “Last Goodbye” and Our Lady Peace have performed “Eternal Life” while on tour.

14 The World Cafe. “Tongue and Groove” session with Duncan Sheik. February 22, 1999.

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The Metro is a club in Chicago where Jeff and the band performed in 1995.

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The Chocolate is an introduction to “Mojo Pin” that Jeff sometimes did live. This version of “Mojo Pin (Live at Wetlands)” can be found on the beautiful Japanese Last Goodbye CD single, as well as the Lost Highway promo CD and the Jeff Buckley Live promo.

Very sultry! The Chocolate part goes like this:

Love turn me on \ Let me turn you all over with my thumb on your tongue \ Rest your heel on my shoulder \ Your love is like chocolate on the tongue of god \ Love turn me on \ Let me turn you all over with my thumb on your tongue \ Rest your heel on my shoulder \ Your love is like chocolate melting on the tongue of god

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[accordion-item title=”What is Arlene’s Grocery?”]

Frequently misspelled and misspoken, Arlene Grocery is a club on the Lower East Side of New York City, owned by former Sin-é owner, Shane Doyle. Parker Kindred debuted as Jeff’s new drummer and made his only public performance with the band there on February 9th, 1997. Arlene Grocery is also significant because a bootlegged recording exists of this show. Some of the songs that are featured on Sketches, such as “Witches’ Rave” and “The Sky is a Landfill,” were performed at this show.

Set List:
Nightmares By the Sea
Witches’ Rave
So Real
Haven’t You Heard
Lover, You Should’ve Come Over
Morning Theft
Vancouver
Coming soon…
Sky is a Landfill
Chocolate/Mojo Pin
Grace
Last Goodbye

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[accordion-item title=”What is the Bataclan?”]

The Bataclan is a historical venue in Paris, France, that Jeff performed at on February 11, 1995. There was a four-song EP released by Columbia titled Live From The Bataclan, which features “Dream Brother,” “The Way Young Lovers Do,” a medley of “Je N’en Connais Pas La Fin/Hymne a L’Amour,” and “Hallelujah.”

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[accordion-item title=”Mind Science of the Mind”]

In May of 1996, Jeff played a series of gigs as bass player with Mind Science of the Mind, a side-project of Buckley’s friend, Nathan Larson of Shudder To Think. Primarily in the Northeast of the United States, this tour was in support of their self-titled debut record. It should be noted that Jeff did not play on the MSOM album, nor did he ever consider himself an actual member of Mind Science of the Mind.

All dates for Jeff’s appearances with Mind Science of the Mind are 1996:
May 2 – Washington, DC at the Black Cat
May 3 – Philadelphia, PA (can’t confirm venue, we think Kyber Pass)
May 4 – New York City at the Mercury Lounge
May 5 – Cambridge, MA at the Middle East

Through Jeff’s friendship with Nathan Larson, he became involved with the First Love, Last Rites soundtrack. Larson, along with Craig Wedren and the rest of Shudder to Think, wrote and performed the music for the soundtrack to Jesse Peretz’s film. Jeff sings on the track “I Want Someone Badly.” Other guest performers on the soundtrack include Liz Phair, Billy Corgan, Robin Zander, and Nina Persson.

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[accordion-item title=”A secret tour in 1996?”]

Jeff did a solo “phantom” tour of small cafes and pubs starting in December of 1996 under alias names such as A Puppet Show Named Julio, Crit Club, Father Demo, Topless America, Smackcrobiotic, The Halfspeeds, Crackrobats, and Martha and the Nicotines. When asked why he toured and did not let fans know, he replied in a letter that was posted to the official Jeff Buckley web site:

“There was a time in my life not too long ago when I could show up in a cafe and simply do what I do, make music, learn from performing my music, explore what it means to me, i.e. have fun while I imitate and/or entertain an audience who don’t know me or what I am about. In this situation I have that precious and irreplaceable luxury of failure, of risk, of surrender. I worked very hard to get this kind of thing together, this work forum. I have loved it and then I missed it when it disappeared. All I am doing is reclaiming it.”

The Phantom Solo Tour: All dates are 1996:
12/6 – Westborough, MA at Old Vienna as “The Crackrobats”
12/7 – Boston, MA at Kendall Square as “Possessed by Elves”
12/9 – Buffalo, NY at Spot Coffee as “Father Demo”
12/10 – Cleveland, OH at Barking Spider as “Smackrobiotic”
12/12 – Manyunk, PA at La Tazza as “Crit-Club”
12/13 – Baltimore, MD at Ze Bean as “Topless America”
12/14 – Washington, DC at Misha’s as “Martha & The Nicotines”
12/15 – Washington, DC at Soho as “A Puppet Show Named Julio”

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[accordion-item title=”Who were some of Jeff’s influences?”]

Jeff’s diverse musical tastes and eclectic performances were reflective of his myriad of influences. Jeff went through “absorption periods,” like Picasso had color and style periods.

Some artists who left an impression on Jeff included Nusrat Fateh Ali Khan, Edith Piaf, Judy Garland, Nina Simone, MC5, Miles Davis, Duke Ellington, Led Zeppelin, Rush, Genesis, Weather Report, Rolling Stones, Pink Floyd, The Who, Patti Smith, The Cocteau Twins, Elvis Costello, Lou Reed, Merle Haggard, Aretha Franklin, The Pixies, David Bowie, Sebadoh, Stevie Wonder and Louis Armstrong.

An early “guitar chops” hero was Al Dimeola. Also high on his list were Jimi Hendrix and Robert Johnson, as well as Joe Pass. Songwriting influences included Joni Mitchell, Carole King and Bob Dylan. Jeff’s vocal style was greatly influenced by Nusrat Ali Fateh Ali Khan, as well as Mahalia Jackson, Ella Fitzgerald, Robert Plant and Freddie Mercury.

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[accordion-item title=”Why did Jeff perform so many cover songs?”]

Jeff Buckley is somewhat infamous for his repertoire of cover songs. In his early years in New York, Jeff’s coffee-house gigs included his takes on such artists as Billie Holiday, Van Morrison, Bob Dylan, Nina Simone, French treasure Edith Piaf and Qawwali devotional singer Nusrat Fateh Ali Khan.

Jeff used these gigs and played these songs to learn his trade. “In my early shows,” Buckley says, “I wanted to put myself through a new childhood, disintegrating my whole identity to let the real one emerge. I became a human jukebox, learning all these songs I’d always known, discovering the basics of what I do.”2

“I’m trying to learn from the great teachers and trying to pay tribute to them.” — Jeff Buckley, Sin-é -era interview

It had been a few years since those early gigs and Jeff’s regard for doing covers had evolved. Before his death, Jeff had made it known that he was his own man, and along with his band, they had their own music to present:

The philosophical bent of [some songs on] Grace is balanced by more cover versions, of course. Both Leonard Cohen’s “Hallelujah” and Nina Simone’s “Lilac Wine” pay homage to the originals and tap into Buckley’s idiosyncratic sensibility, but he turns up his nose at the interpreter’s role. “I don’t want to do any more covers,” he says. “It’s good to learn to make things your own, but the education’s over. Grace is putting a lot of things to rest.”2

2 Diehl, Matt. “The Son Also Rises: Fighting the Hype and Weight of His Father’s Legend.” Rolling Stone, October 20, 1994, Issue 693, Page 69

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[accordion-item title=”The Nusrat Connection”]

Jeff had been a long time admirer of Nusrat’s work. There is a twenty-minute version of “Hulka-Hulka” recorded during the Live at Sin-é sessions. He hired a language instructor to teach him proper Urdu pronunciation for that performance.

He had often touted Nusrat’s talent in interviews. Jeff conducted an interview with him for Interview Magazine, so Jeff was a natural choice to write the liner notes. The Supreme Collection Volume One was dedicated to Jeff’s memory. It was released just after Jeff’s death and just before Nusrat passed on. The first cut of that album, “Aag Daman Mein Lag Jai”, was played as the processional music for the memorial at St. Ann’s Church in New York, the translation of which is:

My life will be set on fire \ My heart will become a ball of fire \ Please do not touch my glass of wine \ If you do, your hand will catch fire \ Tears of my love fill my glass \ Do not touch my glass or your hand will burn.

Sketches was dedicated, in turn, to the memory of Nusrat: “You are the sound within the sound, the voice within the voice. Inshallah.”

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[accordion-item title=”Jeff and the Memphis Zoo?”]

While in Memphis prior to his death, Jeff had visited the Memphis Zoo quite a bit. He was especially enamored with the snow leopards and the butterfly exhibit. He was planning to volunteer some of his time there.

Two brass memorial plaques were unveiled in the zoo at the Sumatran tiger exhibit September 18, 1998. These plaques were made possible by contributions from fans all over the world.

If you would like to make a gift to the zoo in memory of Jeff, you can send a contribution to:

Memphis Zoo Development Department
2000 Galloway
Memphis, TN 38112

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[accordion-item title=”The Golden Promise”]

Clearly, this young man touched countless lives with his vitality and humanity. The absence of this being from our little planet is a tragic loss for everyone, if we consider his musical talent alone. Thank God we have the music and his recordings to console us. What we have lost by way of his tenderness and soulfulness is beyond measure, and cannot be replaced…unless, perhaps, each of us makes a Golden Promise to act on his behalf from this day forward.

A Golden Promise is one that must never be broken. It is made in one’s heart to another heart that’s just departed this life. Look into your soul and find a Promise you can keep that would make this world a better place, even if just for a moment.

Commit “random acts of kindness and senseless acts of beauty”… demonstrate the courage to follow your bliss.And if, when you go to that silent, certain place in your heart, you find there a Promise you can make that gives you a higher purpose in life, then make the strongest vow you’ve ever made and maybe, just maybe, together we’ll be able to repair the damage done to this lowly little world by the untimely passing of this gentle minstrel. – Mary Guibert

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[accordion-item title=”Quotes from Jeff on his religious beliefs”]

Jeff’s music is thought by some to be very spiritual and moving. As for his religious or spiritual beliefs, Jeff had this to say in Dimitri Ehrlich’s book Inside the Music: Conversations with Contemporary Musicians about Spirituality, Creativity, and Consciousness:

“I don’t have any allegiance to an organized religion; I have an allegiance to the gifts that I find for myself in those religions… I’d rather be non-denominational, except for music. I prefer to learn everything through music. If you want divinity, the music in every human being and their love for music is pretty much it. It’s the big indication of their spirituality and their ability to love and make love, or feel pain or joy, and really manifest it, really be real. But I don’t believe in a big guy with a beard on a throne, telling us that we’re bad; I certainly don’t believe in original sin. I believe in the opposite of that: you have an Eden immediately from the time you are born, but as you are conditioned by your caretakers and your surroundings, you may lose that original thing. Your task is to get back to it, to claim responsibility for your own perfection.”

Ehrlich, Dimitri. Inside the Music: Conversations with Contemporary Musicians about Spirituality, Creativity, and Consciousness, 1997 Shambhala Publishers, Boston, Pages 157-158

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[accordion-item title=”The Jeff Buckley Nixon LTD Watch”]

Nixon LTD, the Southern California based premium accessories company and Musicares Map released a limited edition collection of one-of-a-kind watches made from celebrity leather jackets, pants and guitar straps.
Jeff’s mother donated one of Jeff’s leather jackets for the creation of the
The Jeff Buckley Nixon LTD Watch.

Each watch will be hand etched on the back of the band with the name of the artist, individually numbered and come in premium wooden boxes with a certificate of authenticity from Nixon and MusiCares. Other participating artists include Ozzy Osbourne, Chris Cornell, Anthony Kiedis, Kirk Hammett, Tom Dumont, Dave Navarro, Stephen Perkins of Janes Addiction and more.

Watches from the LTD collection were available in 12 stores globally for one month. The proceeds from this highly unique collection benefited MusiCares and MAP fund.

World-Wide Retailers:
Paris – Colette
London – Bond
Barcelona –Limited Edition
Germany –Vibes, Duesseldorf
Switzerland – The Garage, Zurich
New York – Atrium, Barneys
Los Angeles – Barneys
San Francisco – Villians Vault
Chicago – Barneys
Amsterdamn – 90 Sq. Meters
Sydney –General Pants
Tokyo – Beams, Harajuku & Beams
Bologna – Scout

ABOUT MUSICARES MAP FUND
Established in 1989 by The Recording Academy, MusiCares helps music people across the country cope with personal, medical and financial hardships. In 2004, MusiCares developed the MAP Fund, which provides members of the music community access to addiction recovery treatment regardless of their financial condition.
Log online at www.nixonnow.com
& Click on “The LTD Collection” for more info !

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[accordion-item title=”Where can I get the Jeff Buckley Book List ?”]

from jbin 05:02 :: 10/16/03

Dear Mary,
I just read your letter regarding Jeff’s personal collection of literature and I have to let you know what a special idea it would be to share those titles with us. When I see you in interviews speaking about Jeff’s childhood I often shrug my shoulders and sigh “no wonder”.

It is no wonder at all how Jeff’s unique abilities flourished under your guidance and acceptance of arts. From what I have heard in the latest documentaries, the choices you made for his early schooling were wise and progressive and you should be commended for you foresight and caring. That is why I am so touched to hear that you find it important to have someone go through and take stock of Jeff’s books. Not everyone with the thirst for knowledge and growth has had the exposure necessary to find the influences that you were able to point Jeff towards in those crucial years that you nurtured his mind. So much is lacking in our public education for music that I have often wished and wondered if you could ever organize a compilation of music that you remember moved Jeff when he was a child for new parents like myself to expose their own children to.

The stories and sounds that captured Jeff’s imagination and soul are of great interest to us all, because we love him and miss him too. We also want to bestow similar gifts that you gave to Jeff upon our own children, to help teach them about the beauty and joy that can become a part of your life when someone loves and cares for you enough to take the time to bring the words, chords and art of others, along with the freedom and acceptance to learn and create from those influences. This is what you do for us. I want you to know that I admire you as a parent. With what you share with us, you are one of the best enrichment programs we have in this country. I hope you never stop sharing and I hope you can easily see how much you bring to the world and our the kids of Jeff’s fans.

With much love,
Sandra Rosenbaum

Dear Sandra:
Your praise is very flattering, but I can’t take credit for anything more than harboring a huge respect for the intellect of my children and never, never forgetting that their capacity to understand always exceeded my perception of them. I credit my training as an assistant in a Montessori school when the boys were very young with enlightening me as to how to create the most conducive atmosphere for discussion and investigation of all kinds of intellectual endeavors. A friend once remarked, “Your kids ask you for the time, you tell them how to build a watch!”. As far as we were concerned, in my little family of three, there was no such thing as a dumb question.

They boys were active, bright and inquisitive – I just got out of their way and they did the hard work of learning – and dragged me along with them. I was a very lucky Mom.

You can view the list of Jeff’s books by going to www.jeffbuckley.com and click on Jewel Box and select “Downloads” in the drop-down menu. The list is in no particular order and is available in PDF format and requires Adobe Acrobat Reader and Winzip.

Respectfully,
Mary

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The GRAMMY® Charity Holiday Auction was presented by Verizon (Official Broadband Sponsor of The Recording Academy®) and features exclusive items and experiences from your favorite stars including Jeff Buckley.

The Hope for the Holiday GRAMMY online auction featured a leather wristband cuff made from a leather jacket belonging to Jeff.

The cuffs are no longer available and were auctioned from from November 28 – December 8. Proceeds benefited MusiCares

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[accordion-item title=”Jeff in the IKEA catalog?”]

If you have the 1998 IKEA catalog and turn to page ninety-two, you will see an Anton Corbijn photo of Jeff in a picture frame on the window sill.

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[accordion-item title=”FAQ Credits & Bibliography”]

We have the following people to thank for their noted contributions to the FAQ:

Rebecca Kane

Russ Fuller
Without your encouragement, support and patience, I never would have thought myself capable of such a project. This is a testament to what a “whole lotta love” will get you. Thank you. I love you dearly. *b

Marie-Helene
A super big “Merci Beaucoup” to Marie-Helene Savard for coming to the rescue, a la Francais.

Mirko
for sharing her insight after studying Jeff’s voice.

Jack Bookbinder and Gene Bowen
We would like to express our gratitude for your help and for the information you have provided us regarding the band’s equipment. Many thanks for your cooperation.

Dennis in the delphi
Special thanks for many great articles that provided a wealth of information and secret tour dates. We’ll meet in the mischief minute under that grand purple tree. *b

David Peris
Thanks for the information about the “Everybody Here Wants You” video, and for all of your work bringing Jeff to fans all over the world.

Dennis K.
Thanks for the Gaelic translation of Sin-é.

Jeremy
Thanks for answering my call for Nusrat information. It’s greatly appreciated.

——————————————————————————–
Bibliography:
Diehl, Matt. “The Son Also Rises: Fighting the Hype and Weight of His Father’s Legend.” Rolling Stone, October 20, 1994, Issue 693, Pages 68-70, 163

Dye, David. “World Cafe.” WXPN Interview, Winter 1993/94
Ehrlich, Dimitri. Inside the Music: Conversations with Contemporary Musicians about Spirituality, Creativity, and Consciousness Shambhala Publishers, 1997, Boston, Pages 149-59

Flanagan, Bill. “Jeff Buckley Missing, Presumed Dead.” Village Voice, June 10, 1997, Issue 23, Page 62

Flanagan, Bill. Sketches liner notes, New York, February 1998
“Gracelands – The Strange Life and High Times of Jeff Buckley.” Juice, August, 1997, Pages 54-57
Guitar Player, March 1994, Volume 28, Issue 3, Page 120
Harris, Steve. Rockin’ On (Japanese magazine), November 4, 1994
Irvin, Jim. “It’s Never Over.” Mojo, August 1997, Issue 45, Pages 32-38
Kelemen, Gayle. KASR Interview.
Kingsmill, Richard. Triple J Radio Interview. December 1995
Morning Becomes Eclectic. KCRW Interview
OOR (Dutch magazine)
Rotondi, James. “The Power Of Grace.” Guitar Player, April, 1995, Volume 29, Issue 4, Page 21
Schruers, Fred. “River’s Edge.” Rolling Stone, August 7, 1997, Issue 766, Pages 21-24, 70
Smith, Chris. “Village Voice.” New York, November 14, 1994, Volume 27, Pages 68-72
Tortorici, Frank. “Duncan Sheik’s Humming A Breath Of Fresh Air.” SonicNet, October 28, 1998,http://www.sonicnet.com
The World Cafe. “Tongue and Groove” session with Duncan Sheik. February 22, 1999.
Channel 1, UK. Interview, early 1995.

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