I won’t lie. This was yet another album sleeve that suggested itself to me as a purchase back in my early days of buying jazz vinyl. On the cover, the singer Mark Murphy is wearing a salmon pink button down, black V-neck tank top and chinos. As was probably I, as I handed over my money in Rays Jazz Shop.
Simply put, it just looked like an album I should own. It was only later that I began to learn of the fascinating life and career of Murphy himself. Having read a fair bit about him, including ‘This Is Hip’ a biography on Murphy by Peter Jones, it’s soon clear he was very much an outsider from the kick off. Gay in a time of no one owning up to that and professionally was living an existence of forever being on the road, and not dwelling in one place for too long. He identified strongly with the ‘On The Road’ writer Jack Kerouac and the beatnik lifestyle associated with him. It certainly took Murphy a while to work out his preferred vocal style, and to nail down the genre that suited him best, which was ultimately jazz.
He was born in Syracuse, upstate New York in 1932. This was small town America with regular attendance to the local Methodist church, where his father Dwight Sr. was director of the choir.
It was very much a musical household with Mark taking piano lessons from the age of 7. He then sang and played piano in brother Dwight Jr’s. jazz dance band when still in his teens. Vocally his influences included Anita O’Day and especially Peggy Lee. He soon made his way around the local clubs and before long was on the radar of the likes of Sammy Davis Jr and musician and TV host Steve Allen.
He moved to New York City in 1954 and worked at various jobs as he auditioned for work as an actor and singer. He signed for Decca in 1956 and released ‘Meet Mark Murphy’ the first of 50 further albums to come. Sadly this one bombed and he was let go. He then took flight to LA in 1958 and picked up a deal at Capitol records. Once again, he struggled to gain an audience for his sound and was soon back in New York, minus his Capitol deal.
‘Rah!’ was released on Riverside in 1961 and playing on it, you had top line guys such as Bill Evans, Clark Terry and Wynton Kelly. More of this classic album in a bit.
Then his version of ‘Fly Me to the Moon’ became a nationwide hit in 1963 and finally he felt he was beginning to make an impact.
He then landed in London and picked up gigs at Ronnie Scott’s and became a favourite on BBC radio. He also travelled extensively across Europe, and sang regularly in Holland and Germany, in concert and on the radio.
He also worked his acting chops, appearing in the comedy ‘Just Like A Women’ alongside Wendy ‘Butterflies’ Craig. It was in London that he also met his long time partner Eddie O’Sullivan.
However, work began to dry up in London and with money running out, he returned to the States in 1972 where he picked up a contract at Muse and he would go on to make over a dozen albums for them. He had a big love for Brazilian music and recorded work by Jobim and Nascimento.
Once again in London in the late 1980s, he was befriended by the likes of DJs Gilles Peterson and Patrick Forge, who in turn introduced a new generation to his music, which went down a storm, especially with the jazz dancing fraternity who attended their gigs.
Throughout his nomadic career, Murphy worked all over the world, often being gone for months at a time. It was said his own nearest and dearest often had no idea where in the world he was and how long he would be gone for. He would then suddenly pop up in yet another wig (he went bald at a young age) and would then be off again.
He was voted best male jazz vocalist in 1996, 1997, 2000, and 2001 by the readers of Down Beat magazine and picked up 5 Grammy nominations for best male jazz vocalist.
My favourite songs by him include ‘Stolen Moments’ ‘Millstones’ ‘Why and How’ ‘All Blues’ ‘Sconsolato’ ‘Ding Walls’ and ‘Waters of March.’
His last recording was in 2013 and Mark Murphy died in October 2015 aged 83. Some life.
So, back to the album ‘Rah!’ I have dug my original copy that I bought all those years ago, with it being a long time since I have listened to its in it entirety.
Ditching the easy listening route and going for straight ahead jazz, this record marked Murphy down as the real deal for those that ‘knew.’
Recorded in the September and October of 1961 the songs selected for the session were magnificently arranged by Ernie Wilkins and produced by label founder Orrin Keepnews.
Side one. First out of the traps is ‘Angel Eyes.’
A brooding opening beckons Murphy to then come right over the top as he opens up as only he could. Elongating certain words in his own inimitable style, he makes a fantastic job of this tune. It has a menacing tone and feel throughout, very much demanding ‘give me one more drink pal.’ A very strong opening this.
‘Green Dolphin Street’ had been covered by his idol Miles Davis, so of course Murphy had a stab at it. Murphy in his long career was known for including long neglected opening verses on many tunes, that he performed over the years. He does that here, leading again into fine work from the ensemble. They are soon swinging away very nicely. Murphy’s voice itself is more instrument than just a vocal, and here that blends in tonally with the trumpets and trombones. This is most definitely jazz, man.
Mark is in his element on ‘Stoppin’ the Clock’, completely owning the song, which rolls along defying anyone not to nod their head or tap a foot. We break into a foxtrot at one point, which works perfectly. Another belter.
The pace slackens a touch, as we hit ‘Spring Can Really Hang You Up The Most.’ A wistful refrain of a lovelorn chap, trying to make sense of the lack of romance in his life. A powerful vocal performance once again here, complimented beautifully by those on the session, particularly the guitar at the conclusion of the song.
‘No Tears for Me’ shuffles along from the kick off as the vocal dexterity of Murphy takes some believing. His vocal style is at the top of its game here.
Congas set the tone on ‘Out of this World.’ The song slowly goes through the gears, as does the power in Murphy’s vocal delivery. It all comes to the boil at around 2.17 as Murphy hits the remainder of the song hard, very hard. Once again a very clever arrangement by dear old Ernie.
Finger snaps are compulsory on this version of the Miles tune ‘Milestones ‘with lyrics written by Jim Britt. I also heard this a few years after purchasing it when played at Dingwalls by Gilles and Patrick. Murphy carves it up in slices of vocal perfection with the original refrain underplaying his work very nicely. This really holds up very very well indeed.
Trouble ahead.
Murphy starts off faithfully enough on ‘My Favourite Things’ the classic Rodgers and Hammerstein standard, but then he introduces his alternative jazzed up version, which went a little like this…
‘John Coltrane talkin’
Miles and Gil blowin’
Mulligan’s walkin’
The Hi-Los hi-lowin’
Ray Charles and Basie and Garner with strings
These are a few of my favourite things
Anita in motion and Peggy Lee groovin’
Atlantic Ocean how Cannonball’s movin’
Day John and Annie when Monterey swings
These are a few of my favourite things
Memories of Billie the soul and the heartache
Sessions at daybreak in which I can partake
Old Ernie Wilkins he sure gives you wings
These are a few of my favourite things
When some square goofs
When the blues come
When I’m feelin’ bad
I simply remember my favourite things
And then I don’t feel so bad’
Richard Rodgers wasn’t happy however upon hearing it, and his lawyers demanded changes. Therefore the original release was withdrawn, and then re-released with an edited’ version, more faithful to the original tune.
For those interested, The Murphy version can be heard here:
I distinctly remember the kooky ‘Doodlin” being a firm favourite of mine from the first time I heard it. Written by Jon Hendricks to the Horace Silver tune, Murphy plays a blinder on it, with accents and everything. Again it’s a swinging arrangement, topped off with vocals that still sound well odd, all these years later. No wonder Mark made such impressions with it back in 1961.
The pace drops on ‘Lil Darlin’ as Murphy hits the crooner button for a bit and off we sail on the tune from the pens of Jon Hendricks and Neal Hefti (yes lady, him of the Batman theme tune.) This is smooth with a capital S with fine piano work notably by Wynton Kelly here.
‘Rah!’ ends with ‘Twisted’ which strikes me as one tough song to sing. Murphy though, climbs all over it, as much acting out the song, as singing it.
Original 1961 reviews of the album were strong with special mentions being given to the arranger Wilkins.
Listening to it again all these years later, I have to say I was mighty impressed with it, with it actually sounded better than I recalled.
I hope you feel the urge to investigate the man and his music further, if he is new to you.
He was a one off was Mark Murphy and thank God for him.
The Mumper of SE5
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