By David "Chet" Williamson Sneade
Although
he has appeared professionally in Worcester only a handful of times,
jazz singer Mark Murphy has a deep history with this city going back
generations.
His
grandfather, Richard D. Murphy, was a president of the Worcester
Manufacturing Company and according to a 1916 issue of Industry Week,
a former manager of the employment department of the Wyman-Gordon Co.
It
was also reported that he was also a superintendent of Bethel Mission
in Worcester before moving to Fulton, NY to head the congregation
there. Mark’s
father, the late Dwight L. Murphy attended Clark University where he
sang in the Varsity Quartet and was a soloist in the school’s glee
club.
In
an interview with Lee Mergner for Jazz
Times,
Mark said, “The voice is my father’s voice. I inherited it.”
Mark
Murphy was born on March 14, 1932 in Syracuse, NY. It could be said,
that this quintessential jazz singer was born to sing. Both his
parents sang in the church choir and his grandmother was a church
singer.
Best
known for his lyrics to Oliver Nelson’s “Stolen Moments,”
Freddie Hubbard’s “Red Clay,” and Herbie Hancock’s
“Cantaloupe Island,” as well as his work in the area known as
vocalese – writing lyrics to pre-recorded jazz solos – Murphy has
an extensive catalog reaching back to 1954.
In
his interview with Jazz
Times,
Mark spoke further about his father, saying, “I used to see him
sometimes. I’d do a gig at Birdland and look down and there was my
dad. Later on, I realized he was trying to figure out what the hell I
was singing.
“He
didn’t understand jazz like my mother did. I got my basic knowledge
of music from her. And he supplied the vocals but he didn’t have
any concept of jazz. He was a concert singer. He had done the old
Chautauqua circuit around New York way back when. I’m talking
around 1910 -- around those days.”
Mark’s
father died at mysteriously at the age of 57. “It was very sudden
and very shocking. Maybe it might have been a suicide, but I can’t
find anyone who wants to talk about it.”
As
Mergner noted his father only witnessed the beginnings of his son’s
long career as a jazz vocalist. “He was knocked out with my first
album,” Mark said. “He sent it to all his friends and his old
vocal teacher. He got it just in time because he died that year.”
After
a 1960s TV appearance, James Gourgourous of the Worcester
Telegram and Gazette,
mentioned the singer in his column: “Mark Murphy, a young singer
who belted out a special selection last night on Steve Allen’s
telecast, is a name at least some Worcesterites should identify.”
Gourgourous
noted the city connections, before adding, “There’s music in this
young Murphy, from way back, and we’re anxious to hear more from
this “skat jazz” artist.”
Throughout
the 1980s, Murphy was in regular rotation on the Monday night jazz
series at the El Morocco in Worcester, where he appeared with Richie
Cole. The shows were always an attraction.
In an October 1989 review of a Murphy performance at the El, writer Peter Landsdowne said: “Only
a fool would venture out on a cold and rainy fall night like last
night, only a fool, that is, and a small coterie of jazz fans bent on
hearing jazz singer Mark Murphy.
The review ran in the Telegram & Gazette. Landsdowne also noted that, Murphy "lit into an extended jazz rap, during which he told the faithful few that 'if you're sitting out there tonight, then you can divide your life into two parts: Before Jazz and After Jazz. You had a life before jazz, but once you heard jazz, you knew that your life would never be the same again.'
Today, Murphy’s
career now spans greater than a half century. Sometime around 2008 it
was rumored that the singer was in the early throes of Alzheimer’s.
"Murphy,
who returned to El Morocco Restaurant's Nile Lounge after a hiatus of
too many years, drew only several dozen jazz fans to the club, but
they were the true aficionados, the jazz cognoscenti, the inner
circle of the inner circle.
Among
them were several local jazz musicians, a handful of jazz disc
jockeys, and the group of die-hard jazz fans that make every event,
come rain or come shine.”
The review ran in the Telegram & Gazette. Landsdowne also noted that, Murphy "lit into an extended jazz rap, during which he told the faithful few that 'if you're sitting out there tonight, then you can divide your life into two parts: Before Jazz and After Jazz. You had a life before jazz, but once you heard jazz, you knew that your life would never be the same again.'
"These
and other observations on the jazz life elicited some enthusiastic
applause," Landsdowne said. "Murphy quickly moved into "Moody's Mood for
Love," which began life as a lyric interpretation by vocalese
pioneer Eddie Jefferson of a James Moody saxophone solo. George
Benson covered the tune a few years back, but Murphy's version
was much more in keeping with the song's bop roots. The singer turned
the composition into an improvisation on an improvisation by freely
interpreting both the song's lyrics and its melody. He ended the tune
by singing the name 'James Moody!' with a fast shake
mindful of a jazz trumpeter's vibrato.
"Murphy also
took some time to work over some standards. He sang the rarely heard
verse to Johnny Green's 'Body and Soul' with just [Dave] Philips'
soft piano chords in the background and later borrowed alto
saxophonist Charlie Parker's patented introduction to 'All the
Things You Are' to set up a bopping romp on that tune. On 'It
Might As Well Be Spring,' the singer cleverly segued
to 'Spring Can Really Hang You Up the Most.'
"Murphy can
sing everything from bop to blues, but he took a detour through
Brazil last night. He fervently intoned Gene Lees' poignant lyrics to
Milton Nascimento's lilting 'Bridges' and somehow
transformed Antonio Carlos Jobim's usually brisk 'Dindi' into a tender ballad."
In
2011 Mergner set the record straight. He said that according to
manager/agent Jean-Pierre Leduc, the reports come from a
“misdiagnosis and subsequent prescription for a medicine, whose
side effects included symptoms like confusion and disorientation.
“He
was prescribed medicine for Alzheimer’s because that’s what they
thought he had,” said Leduc. “It became like a self-fulfilling
prophecy, because the effect of this medication was to make him
confused. He’s off that medication now. This all happened about a
year or a year and a half ago.”
Leduc
also stated that Murphy is living at the Lillian Booth Actors Home
in New Jersey. “The reason he’s there is that he can’t easily
manage day-to-day things like laundry, food, etc.” says Leduc. “It
might seem a little extreme, but sometimes there’s no happy middle
ground. As he says, some people go there to die, but he went there to
live.”
Now
in his eighties -- as of this writing -- Murphy is still out there
performing, singing forever more. In July of 2013, a celebration of
his career in jazz was held for Murphy in New York City.
The
publicity for the show read: “America's greatest living jazz singer
will be celebrated by an impressive group of guests on this special
evening produced by Lunched Management, in collaboration with the
Jazz Foundation of America. Join us at the wonderfully intimate Joe's
Pub to honor the great Mark Murphy, who is also scheduled to
perform.”
Among
those who performed were Sheila Jordan, Theo Bleckmann, Janis Siegel,
Tessa Souter, Francesco Pini, Jay Clayton, Amy London, Roz Corral,
Milton Suggs, among others. A trio consisting of pianist Alex
Minasian, bassist Brandi Disterheft and drummer Steve Williams
supported the cast.
The date also marked is the release of Murphy's latest recorded project, A Beautiful Friendship: Remembering Shirley Horn, issued by Gearbox Records.
The date also marked is the release of Murphy's latest recorded project, A Beautiful Friendship: Remembering Shirley Horn, issued by Gearbox Records.
The
singer’s influence can be heard in a variety of today’s jazz
singers including, Kurt Elling, Ian Shaw, and local singer Richard
Jarvis, who sings uncannily like Murphy, especially on tunes he
learned from the master: “Don’t Go to Strangers,” “Never Let
Me Go,” and “I Fall in Love too Easily.”
“I
like the way he does everything,” Jarvis said. “He uses all the
notes in the scale and he knows how to use it. He’s the best.”
This is a work in progress. Send all comments, corrections, and suggestions to: walnutharmonicas@gmail.com.
This is a work in progress. Send all comments, corrections, and suggestions to: walnutharmonicas@gmail.com.
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Excellent work on this! I wish I was there that cold rainy night at the El.
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