One wonders personified the very nature of the jazz hipster and certainly Murphy, along with the late great Eddie Jefferson and, to a lesser extent, Babs Gonzales also, were pioneers of incorporating hip street 'jive talk' into the jazz cannon. Miles Davis and John Coltrane with Bill Evans close in pursuit had changed the face of jazz with modal music such as 'Milestones' and 'Kind of Blue' and the title track of the former was chosen by Murphy for what proved to be a storming rendition that swings crazily from start to finish.
Adding Latin percussion from Willie Rodriguez, this is arguably the strongest alternative version of Miles' classic, though the Latin Jazz Quintet and Johnny Lytle's re-titled 'Selim' 'Miles spelt backwards would be strong instrumental contenders. Mark Murphy's elasticity of voice is showcased on a Horace Silver perennial favourite, 'Doodlin', and repeatedly throughout his career he would love to juggle with and manipulate words in a way that few writers could manage.
Among the singer's influences, that of Frank Sinatra, is an obvious one and on 'Green Dolphin Street' Murphy's straight ahead treatment compares favourably with any superior crooner. Murphy sounds very much at ease in the studio now and in his choice of material playful too, exploring the various manifestations of the blues in its myriad forms.
The title track is a revelation and features such unusual, yet totally endearing phrases such as, 'Like a Frenchman loves his sous [old French currency], I love the blues'. Horace Silver once again features as a song writer with the incomparable 'Senor Blues' a credible alternative to the Bill Henderson original while Murphy was evidently soaking up other singers such as Jimmy Rushing on a straight reading of 'Going to Chicago Blues'.
Aiding proceedings no end was a top studio band that included trumpeter Clark Terry, guitarist Jim Hall, bassist Ben Tucker and percussionist Willie Rodriguez. This album should not be overlooked and, at this period in his career, may actually have been the most cohesive. As a major bonus we have four extremely hard to find 45s from the Riverside label, with both 'A' and 'B' sides included that attempted to sell the singer to a wider audience.
Squeeze Me Blues Down Home I Remember Clifford Bad Luck Honky Tonk All of Me Light She smolders on mid-tempo numbers and ballads. Reissued on vinyl in , The Source is on the torch-song side of jazz, with slow abstract orchestra strings, made even slower by Scott, who liked to hold onto notes as if his life depended on it—his enthralling voice penetrates your soul. If you closed your eyes and imagined what a hip male jazz singer is supposed to sound like, your mind would invariably be hearing Mark Murphy.
The man oozed cool and had the talent to back it up. Smooth jazz is all well and good but if you want to hear Washington bring the heat, Dinah Jams is the album for you. Pure fire. Yodler Grady Martin Grady Hank Cochran Hank Jeannie Seely Jeannie Gene Rader Owen Frank Stewart Dorsey Lee LuBelle Camp Grandma Bonham A. Grandpa Bonham Bernedette Whitehead Jessie as Bernadette Whitehead Jackie Ezzell Country Girl Harvey Christiansen Eubanks Hugh Johnson Venus I Only Have Eyes for You Lonesome Town Firefly Catch a Falling Star Come to Me Witchcraft Both sessions recorded at Capitol Studios, Hollywood, California, ARC was purchased by CBS in late and this sale included everything intellectual and tangible including the Columbia and Okeh labels since Beginning in September of , they phased out using the Brunswick label name, probably to avoid paying royalties on it, instead phasing in the newly-revived Columbia label.
The abandoning of Brunswick altogether in April, , voided the agreement Warner Bros and Brunswick-Balke-Collender had with ARC, so Brunswick-Balke-Collender got both pre Brunswick and Vocalion rights back they still had the masters , and they quickly sold rights and masters for both labels in to Decca see below. Starting in , ARC started to reissue old Brunswick sides from the mid '30s by Bing Crosby from their masters.
They also licensed the name from Brunswick-Balke-Collender again so they could reissue Bing's earliest records under the Brunswick label. Brunswick-Balke-Collender, the pool table and by-then-bowling-ball company, simplified their name to Brunswick Corporation sometime in the s. Although today pool tables, bowling pin-spotters, bowling balls, records, and CDs all bear the Brunswick name and share a common history, the music operation and the sports equipment operation parted ways more than a half-century ago.
Brunswick Records can be found on 78s from the ss. It was in the early s that Brunswick started issuing long playing albums, and the earliest of these consisted of material recorded by Brunswick and Decca in the '30s and '40s.
In the s, material released on the Brunswick label was distributed by Coral Records itself a subsidiary of U. By , Brunswick had started issuing newly recorded material. The artists on Brunswick and Coral were often interchangeable.
Brunswick was releasing material by the Crickets while Coral was issuing material by Buddy Holly solo, even though both Buddy Holly and the Crickets were usually on all of these recordings no matter how they were billed.Be the first to review “Mark Murphy Sings – Playing The Field/Rah/That’S How I Love The Blues” Cancel reply Your email address will not be published. Required fields are marked *.