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46-582: Blue Afternoon is the fourth studio album by Tim Buckley , released in November 1969. It is Tim Buckley's first self-produced record and his debut for Herb Cohen and Frank Zappa 's label Straight Records . The album used the same group of musicians as Happy Sad (1969) with the addition of drummer Jimmy Madison. It presaged Buckley's most experimental work on his subsequent two albums. Several tracks on Blue Afternoon are songs Buckley had intended to record on earlier albums but had not completed. "Chase

92-469: A Telecaster guitar became a distinctive part of Buckley's early sound. Jac Holzman and Paul Rothchild 's production and Jack Nitzsche 's string arrangements cemented the record's mid-'60s sound. The album's folk-rock style was typical of the time, although many people, including Underwood, felt the strings by Nitzsche "did not enhance its musical quality." Critics took note of Buckley's distinctive voice and tuneful compositions. Underwood considered

138-459: A cult following . In 1975, Buckley engaged the press regarding a live album comeback. He began performing revamped versions of material drawn from his career, except Starsailor and Lorca , in response to his audience, which he had spurned in the past. On June 28, 1975, Buckley completed a short tour with a show in Dallas , playing to a sold-out crowd of 1,800 people. He celebrated the end of

184-547: A "supposed" bass one or two thirds below the fundamental bass or actual root of the chord. With the theoretical chord F–A–C–E–G–B the fundamental bass would be considered C, while the supposed bass would be F. Thus the notes F and A are added below a seventh chord on C, C–E–G–B, triadically (in thirds). This is also referred to as the "H chord". The theory of supposition was adopted and modified by Pierre-Joseph Roussier , Friedrich Wilhelm Marpurg , and other theorists. A. F. C. Kollmann , following Johann Kirnberger , adopted

230-731: A bass player with whom he formed two musical groups, the Bohemians, who initially played popular music, and the Harlequin 3, a folk group which regularly incorporated spoken word and beat poetry into their gigs. Buckley and lyricist/friend Beckett wrote dozens of songs, some that appeared on Tim's debut album, Tim Buckley . "Buzzin' Fly" was written during this period and was featured on Happy Sad , his 1969 LP . Buckley's college career at Fullerton College lasted two weeks in 1965. After dropping out of college, Buckley dedicated himself fully to music and playing L.A. folk clubs. During

276-404: A dominant ninth or dominant thirteenth). During the common practice period of Western classical music , composers orchestrating chords that are voiced in four or fewer parts would select which notes to use so as to give the desired sonority , or effect of the intended chord. Generally, priority was given to the third, seventh and the most extended tone, as these factors most strongly influence

322-541: A fifth) in much the same way that V , V /ii, V/IV, etc. might resolve to their respective tonics. Extended chords can also be altered dominants, and the extended pitch may be altered in several ways (such as V flat 13 in a major key). Following standard voice leading rules: An important distinction between extended and added chords must be made, since the added tones and extended tones are enharmonic , but differ in function. Extended chords always have at least one octave between their lowest pitch, and extended note, otherwise

368-556: A flatted fifth or ninth, should also be given priority. For example: in a thirteenth chord, one would play the root, third, seventh, and thirteenth, and be able to leave out the fifth, ninth, and eleventh without affecting the function of the chord. The eleventh chord is an exception to this voicing, in which the root, seventh, ninth, and eleventh are most commonly used. In the classical practices of western music, extended chords most often have dominant function (dominant or secondary dominant ), and will resolve in circle progression (down

414-554: A memorial tribute to Buckley in Brooklyn . During French class in 1964, Buckley met Mary Guibert. Their relationship inspired some of Buckley's music, and provided both of them time away from their respective turbulent home lives. After almost a year of dating, Buckley and Guibert married on October 25, 1965. When Guibert became pregnant, Buckley decided he was unable to cope with fatherhood. The couple divorced in October 1966, about

460-589: A month before their son, Jeff Buckley , was born. Jeff later said about his father, "He left my mother when I was six months old   ... So I never really knew him at all. We were born with the same parts but when I sing it's me. This is my own time and if people expect me to work the same things for them as he did, they're going to be disappointed." In April 1970, Buckley married Judy Brejot Sutcliffe in Santa Monica , and adopted her son, Taylor Keith Sutcliffe. Extended chords Chords extended beyond

506-415: A perfunctory response to please his business partners. While Buckley's music never sold well, his following releases did indeed chart. Lorca alienated his folk base, while Blue Afternoon was criticized as boring and tepid, and "[not] even good sulking music", although it has been re-evaluated over the years. Blue Afternoon was Buckley's last album to chart on Billboard , reaching No. 192. Following

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552-404: A simpler approach and one closer to that prevalent today, in which Rameau's "supposed" bass is considered the fundamental and the ninth and eleventh are regarded as transient notes inessential to the structure of the chord. Thus F–A–C–E–G–B is considered a seventh chord on F, F–A–C–E, with G and B being nonchord tones added above triadically. In 19th-century classical music the seventh chord

598-532: A six-song demo acetate disc which he sent to Elektra records owner Jac Holzman , who offered him a recording contract. In August 1966, Buckley recorded his self-titled debut album in three days in Los Angeles. He later recalled: "I was only 19, and going into the studio was like Disneyland . I'd do anything anybody said." The record featured Buckley and a band of Underwood and Orange County friends. Underwood's mix of jazz and country improvisation on

644-629: Is clear that adding an eleventh or a thirteenth makes the seven chord qualities distinguishable from each other, as without an eleventh added the I and IV chord quality would be identical, and without a thirteenth added the ii and vi chord quality would be identical. Jazz from the 1930s onward, jazz fusion from the 1970s onward and funk all have been seen to use extended chords as a key part of their sound. In these genres, chords often include added ninths, elevenths and thirteenths as well as their altered variations. In jazz and jazz fusion, compositions consist of complex chord progressions in which many of

690-621: The BBC and then appearing at the Internationale Essener Songtage  [ de ] in Germany, as well as touring England and Denmark again. Later that year, he recorded Happy Sad , which reflected folk and jazz influences and would be his best-charting album, peaking at No. 81. During 1969, Buckley began to write and record material for three albums, Blue Afternoon , Lorca , and Starsailor . Inspired by

736-660: The Original Album Series box set, with Buckley's four LPs released on Elektra Records, and again in 2017 by Rhino as part of the collection Tim Buckley - The Complete Album Collection , featuring his first 7 albums plus a re-release of Works in Progress . All tracks are written by Tim Buckley. Tim Buckley Timothy Charles Buckley III (February 14, 1947 – June 29, 1975) was an American musician. He began his career based in folk rock , but subsequently experimented with genres such as psychedelia , jazz ,

782-529: The avant-garde , and funk paired with his unique five-octave vocal range. His commercial peak came with the 1969 album Happy Sad , reaching No. 81 on the charts, while his experimental 1970 album Starsailor went on to become a cult classic . The latter contained his best known song, " Song to the Siren ." Buckley died at the age of 28 from a heroin and morphine overdose, leaving behind one biological son, Jeff , and one adopted son, Taylor. Tim Buckley

828-493: The 1969 film Changes . Buckley performed " Song to the Siren " on the final episode of The Monkees . Buckley was wary of the press and often avoided interviews. After a slot on The Tonight Show , Buckley was standoffish and insulting toward Johnny Carson , and on another television appearance refused to lip sync to "Pleasant Street". After Beckett was drafted into the Army, Buckley developed his own style, and described

874-667: The Blues Away" and "Happy Time" are numbers he had worked on in the summer of 1968 for possible inclusion on Happy Sad and demos can be heard on the Rhino label 's Works in Progress album. Blue Afternoon , like Starsailor , was re-released as a stand-alone album on CD format only once in the United States, in 1989 on the Enigma Retro label. It was then later re-issued by Warners/Rhino Records UK in 2011 as part of

920-505: The Girl"/"Strange Street Affair Under Blue." Buckley followed with "Once Upon a Time" and "Lady Give Me Your Key", which were not well regarded but showed potential. Elektra decided not to release the songs as singles, and the songs remained in Elektra's record vaults. Rhino Records was unable to find "Lady Give Me Your Key" to include on its Morning Glory: The Tim Buckley Anthology , but

966-727: The Mothers' manager, Herb Cohen . Cohen saw potential in Tim and landed him an extended gig at the Night Owl Cafe in Greenwich Village at West 3rd and MacDougal. Buckley's girlfriend, Jainie Goldstein, drove him to New York. While living in the Bowery with Jainie, Buckley ran into Lee Underwood and asked him to play guitar for him. The two became lifelong friends and collaborators. Under Cohen's management, Buckley recorded

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1012-600: The album distinguished it from its predecessor. Beckett addressed the psychological nature of war in "No Man Can Find the War", and Underwood welcomed Buckley's entry into darker territory with "Pleasant Street". "I Never Asked to Be Your Mountain" represented a confessional lyric to his estranged wife and child, while the mix of introspective folk songs and political-themed content attracted folk fans and anti-war audiences. Holzman had faith in Buckley and rented advertising space for

1058-444: The albums, Buckley began to focus on what he felt to be his masterpiece, Starsailor . Starsailor contained free jazz textures under Buckley's most extreme vocal performance, ranging from high shrieks to deep, soulful baritone. This personal album included the more accessible " Song to the Siren ", a song which has since been covered by Robert Plant , John Frusciante , Bryan Ferry , Sinead O'Connor and Brendan Perry . The album

1104-403: The chords are extended chords and in which many of the dominant seventh chords are altered extended chords (e.g., A or D ). Funk also uses altered extended chords, but in this genre, pieces are usually based on a vamp on a single chord, because rhythm and groove are the key elements of the style. When extended chords are voiced in jazz or jazz fusion, the root and fifth are often omitted from

1150-449: The confidence Elektra had in Buckley and group, they were given free rein on the content of the album. Beckett continued as lyricist and the album consisted of Buckley originals and Beckett–Buckley collaborations. Critics noted the improved lyrical and melodic qualities of Buckley's music. Buckley's voice had developed since his last release and the press appreciated both his lower register and falsetto in equal measure. The subject of

1196-491: The extended factor would be considered an added pitch. Extended chords usually must be resolved when used in a dominant function, whereas added chords are most often textures added to a tonic. In the 18th century, ninth and eleventh chords were theorized as downward extensions of seventh chords , according to theories of supposition . In 1722, Jean-Philippe Rameau first proposed the concept that ninth and eleventh chords are built from seventh chords by (the composer) placing

1242-492: The jazz/ blues -rock with which he was associated as "white thievery and an emotional sham." Drawing inspiration from jazz greats such as Charles Mingus , Thelonious Monk , Roland Kirk , and vocalist Leon Thomas , Buckley's sound became different from previous recordings. In 1968, Buckley toured Europe twice, first including Denmark, the Netherlands, and England, appearing e.g. on John Peel 's Top Gear radio show on

1288-472: The musician on the Sunset Strip , an unusual step for a solo act. Buckley distanced himself from comparisons to Bob Dylan , expressing an apathy toward Dylan and his work. While Goodbye and Hello did not make Buckley a star, it performed better in the charts than his previous effort, peaking at No. 171. Buckley's higher profile led to his album The Best of Tim Buckley being used as a soundtrack to

1334-428: The quality and function of the chord. The root is never omitted from the texture. The third defines the chord's quality as major or minor. The extended note defines the quality of the extended pitch, which may be major, minor, perfect, or augmented. The seventh factor helps to define the chord as an extended chord (and not an added note chord ), and also adds to the texture. Any notes which happen to be altered, such as

1380-516: The record to be "a first effort, naive, stiff, quaky and innocent [but] a ticket into the marketplace". Holzman expressed similar sentiments and thought Buckley wasn't comfortable in his own musical skin. Larry Beckett suggested the band's desire to please audiences held it back. Elektra released two singles promoting the debut album, "Wings" with "Grief in My Soul" as the B-side , and "Aren't You

1426-513: The seventh are rarely seen in the Baroque era , and are used more frequently in the Classical era . The Romantic era saw greatly increased use of extended harmony. Extended harmony prior to the 20th century usually has dominant function – as V , V , and V , or V /V, V /ii etc. Examples of the extended chords used as tonic harmonies include Wild Cherry 's " Play That Funky Music " (either

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1472-464: The singing of avant-garde musician Cathy Berberian , he integrated the ideas of composers such as Luciano Berio and Iannis Xenakis in an avant-garde rock genre. Buckley selected eight songs for Blue Afternoon , an album similar to Happy Sad in style. In a 1977 article for DownBeat magazine, Lee Underwood wrote that Buckley's heart was not in Blue Afternoon and that the album was

1518-470: The song was the title track on Light in the Attic Records' 2017 collection of the previously unissued 1967 acoustic sessions. "Once Upon A Time" surfaced on Rhino's Where The Action Is 1965–68 Los Angeles anthology in 2009. Goodbye and Hello , released in 1967, featured late 1960s-style poetry and songs in different timings , and was an ambitious release for the 20-year-old Buckley. Reflecting

1564-728: The summer of 1965, he played regularly at a club co-founded by Dan Gordon. He played Orange County coffeehouses such as the White Room in Buena Park and the Monday-night hootenannies at the Los Angeles Troubadour . That year, Cheetah magazine deemed Buckley one of "The Orange County Three", along with Steve Noonan and Jackson Browne . In February 1966, following a gig at It's Boss, the Mothers of Invention 's drummer Jimmy Carl Black recommended Buckley to

1610-405: The thirteenth chord chord quality that is harmonic to such scale (i.e. with all its notes belonging to such scale), results in the following table. The numbering is relative to the scale degree numbers of the major scale that has the major scale degree in question as tonic : Other thirteenth chord qualities do exist but they do not belong to any mode of the major scale. From the table it

1656-400: The tonic triad at the end of a piece. The "piling up" of thirds above the tonic to make seventh, ninth, eleventh, or even thirteenth chords "is one of the most important characteristics of jazz harmony ". Vítězslav Novák 's student Jaroslav Novotný (1886–1918) used a fifteenth chord in the fourth song of his 1909 song cycle Eternal Marriage . Building on each of the major scale degrees

1702-475: The tour with a weekend of drinking with his band and friends. On the night of June 29, he accompanied longtime friend Richard Keeling to his house. At some point, Keeling produced a bag of heroin, some of which Buckley snorted. Buckley's friends took him home and, seeing his inebriated state, his wife Judy laid him on the living-room floor and questioned his friends as to what had happened. She moved Buckley into bed. When she checked on him later, she found that he

1748-427: The work of Bessie Smith and Billie Holiday , his mother to Frank Sinatra and Judy Garland and his father to the country music of Hank Williams and Johnny Cash . When the folk music revolution came around in the early 1960s, Buckley taught himself the banjo at age 13, and with several friends formed a folk group inspired by The Kingston Trio that played local high school events. During high school, Buckley

1794-427: Was a critical and commercial failure upon release, despite having gained a considerable cult status following specially This Mortal Coil 's cover, which renewed interest in it. Unable to produce his music and almost broke, Buckley turned to alcohol and drug binges. He considered acting and completed an unreleased low-budget film entitled Why? (1971). The film was an experimental use of the new medium video tape and

1840-758: Was born in Washington, D.C. , on Valentine's Day , February 14, 1947, to Elaine (née Scalia), an Italian American , and Timothy Charles Buckley Jr., a decorated World War II veteran and son of Irish immigrants from Cork . He has a sister named Kathleen. He spent his early childhood in Amsterdam , New York , an industrial city about 40 miles (64 km) northwest of Albany . At five years old, Buckley began listening to his mother's progressive jazz recordings, particularly Miles Davis . Buckley's musical life began after his family moved to Bell Gardens in southern California in 1956. His grandmother introduced him to

1886-458: Was commissioned by Technicolor . In 1970, Buckley disbanded his Starsailor ensemble and assembled a new funk band. He cut three albums, Greetings from L.A. , Sefronia and Look at the Fool . Buckley had alienated much of his hippie fan base with his previous two albums, and his sexually frank lyrics ("whip me, spank me") prevented the songs from receiving airplay, although he retained

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1932-627: Was elected to class offices, played on the baseball team and quarterbacked the football team. During a football game, he broke two fingers on his left hand, permanently damaging them. He said that the injury prevented him from playing barre chords . This disability may have led to his use of extended chords , many of which don't require barres. Buckley attended Loara High School in Anaheim, California . He cut classes regularly and quit football, focusing most of his attention on music. He befriended Larry Beckett , his future lyricist, and Jim Fielder ,

1978-521: Was generally the upper limit in "chordal consonance ", with ninth and eleventh chords being used for "extra power" but invariably with one or more notes treated as appoggiaturas . The thickness of complete ninth, eleventh or thirteenth chords in close position was also generally avoided through leaving out one or more tones or using wider spacing (open position). In the 20th century, especially in jazz and popular music, ninth chords were used as elaborations of simpler chords, particularly as substitutes for

2024-400: Was not breathing and had turned blue. Attempts by friends and paramedics to revive him were unsuccessful, and he was pronounced dead on arrival . The coroner 's report stated that Buckley died at 9:42 p.m. on June 29, 1975, from "acute heroin/ morphine and ethanol intoxication due to inhalation and ingestion of overdose". Buckley's tour manager , Bob Duffy, said Buckley's death

2070-526: Was not expected, but "was like watching a movie, and that was its natural ending." Other friends saw his passing as predictable, if not inevitable. Beckett recalled how Buckley took chances with his life, including dangerous driving, drinking alcohol, taking pills and heroin. Given the circumstances of his death, police charged Keeling with murder and distribution of heroin . At his hearing on August 14, 1975, Keeling pleaded guilty to involuntary manslaughter and, after failing to complete community service,

2116-681: Was sentenced to 120 days in jail and four years' probation. Buckley died in debt, owning only a guitar and an amplifier . About 200 friends and family attended his funeral at the Wilshire Funeral Home in Santa Monica, including manager Herb Cohen and Lee Underwood . His 8-year-old son, Jeff , had met his father only once, and was not invited to the funeral. Jeff Buckley said not being invited to his father's funeral "gnawed" at him, and prompted him to pay his respects by performing " I Never Asked to Be Your Mountain " in 1991 at

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