This is Hip; The Life of Mark Murphy; Peter Jones

Peter Jones [+–]

Jazz singer and journalist

Peter Jones is a jazz singer and journalist based in London.

He read English at St Peter’s College, Oxford, and after a brief sojourn at the University of New Mexico he returned to England and began working as a pop music journalist. After a decade as a film and TV publicist, during which he was the researcher for the autobiography of Spitting Image founder Roger Law, he gained an MA in Film and Television Studies from the University of Westminster. Until 2015 he taught film and media at a variety of London colleges, and published a short book on black cinema (BFI Publishing), followed by a handbook for Media and Film students (Hodder Arnold).

For several years he played bass in a jazz sextet, before deciding to concentrate on singing. At around the time of his first album (‘One Way Ticket to Palookaville’ – 2013) he developed a serious interest in the work of Mark Murphy, which has continued ever since. He began working for London Jazz News, reviewing concerts and CDs, and conducting interviews, including one with Kurt Elling in 2015. His second album (‘Utopia’) was released in 2016.

Awarded BEST HISTORICAL RESEARCH IN RECORDED JAZZ: Best Discography
in The Association for Recorded Sound Collections Awards for Excellence 2019

Murphy was a master of scat and vocalese, of songwriting and the spoken word. He expanded the jazz singing repertoire, adding his own lyrics to instrumentals like John Coltrane’s Naima, Freddie Hubbard’s Red Clay, and Oliver Nelson’s Stolen Moments. Unrivalled as an interpreter of ballads, he was able to express longing and regret to a degree lacking in any other jazz singer.

For years he roamed the world, playing thousands of gigs. Rediscovered in the Eighties by a new audience of jazz dancers, and again in the 21st century by a digital generation who invited him to guest on their recordings, he remains a crucial though unjustly neglected figure in vocal jazz.

This Is Hip is more than a biography: it also explores Murphy’s innovative approaches both to singing and to the teaching of singers. Based on numerous interviews with those who knew him best, the book delves into a performing and recording career that spanned 60 years and earned him five Grammy nominations.

Series: Popular Music History

Preliminaries

Acknowledgements [+–] vii-viii

When Mark Murphy died in October 2015, the world lost one of the greatest jazz singers in history. Murphy was the last of his kind, a hipster of the Kerouac generation, who rejected the straight life of prosperity and numb consumerism. With a catalogue of more than 40 albums under his own name, Mark Murphy was a consummate improviser, who never sang a song the same way twice. He could have enjoyed a successful mainstream career in the vein of Mel Tormé or Jack Jones. But his ambition was greater – to be an artist, to rebel against the commercial music industry and to carry the jazz vocal flame wherever it led him. Murphy was a master of scat and vocalese, of songwriting and the spoken word. He expanded the jazz singing repertoire, adding his own lyrics to instrumentals like John Coltrane’s Naima , Freddie Hubbard’s Red Clay , and Oliver Nelson’s Stolen Moments . Unrivalled as an interpreter of ballads, he was able to express longing and regret to a degree lacking in any other jazz singer. For years he roamed the world, playing thousands of gigs. Rediscovered in the Eighties by a new audience of jazz dancers, and again in the 21st century by a digital generation who invited him to guest on their recordings, he remains a crucial though unjustly neglected figure in vocal jazz. This Is Hip is more than a biography: it also explores Murphy’s innovative approaches both to singing and to the teaching of singers. Based on numerous interviews with those who knew him best, the book delves into a performing and recording career that spanned 60 years and earned him five Grammy nominations.

Foreword

It’s Compromise, don’t Bother [+–] ix-xiii

As his 2008 Athens concerts made clear, even as an old man Mark Murphy was a formidable performer of vocal jazz. Never comfortable with the compromises made by more commercially successful singers, and celebrating the hipster ethos he had learned from Jack Kerouac, he carved out his own musical path. He mastered the jazz repertoire, its styles and techniques, even as he pushed its boundaries, and profoundly influenced several generations of jazz singers, many of whom became more famous than their mentor.

Chapter 1

That’s When It Bit Me [+–] 1-10

Mark Murphy was born in 1932 in upstate New York. The Murphys were a middle-class family of English and Northern-Irish Protestant stock. His father was a singer and his mother a jazz fan. Painfully shy as a child, Murphy discovered his own love for jazz at the age of 14, particularly the singing of Peggy Lee and Nat King Cole. After studying at Syracuse University, he was spotted singing in a local club by Sammy Davis Jr., who encouraged him.

Chapter 2

Dues-paying Days [+–] 11-21

Murphy moved to New York City, sharing an apartment with his brother Doc. Gradually he came to know people such as Sheila Jordan, who became a life-long friend, Jon Hendricks and Dave Lambert. Through a process of networking he eventually landed a contract with Decca Records and made two poorly-selling albums with them. Soon after the first – Meet Mark Murphy – was released, his father died under mysterious circumstances.

Chapter 3

All the Bases were Loaded [+–] 22-30

Relocating to Los Angeles, Murphy struggled for a while before being signed by Capitol Records, for whom he made three albums, including This Could be the Start of Something, the title track from which became a minor hit. He also made a number of television appearances, and endured a painful encounter with his idol, Peggy Lee. The Capitol contract came to an end without the hoped-for breakthrough, and Murphy decided to return to New York.

Chapter 4

Many Shades of Blue [+–] 31-38

Murphy signed to Riverside Records, a smaller, more specialized jazz label than either Decca or Capitol, making two well-regarded albums – Rah and That’s How I Love the Blues. He worked occasionally with Bill Evans, and became profoundly influenced by the music of Miles Davis

Chapter 5

That’s what I Like about London [+–] 39-47

Public taste was changing in the early 1960s; enthusiasm for jazz was on the wane, and Beatlemania was just around the corner. Murphy decided to join the mass exodus of American jazz musicians and move to Europe. He ended up in London, where he was to remain for the next nine years, performing regularly at Ronnie Scott’s, appearing on BBC Radio and recording an album for Fontana.

Chapter 6

He’s as Good as I am [+–] 48-61

In 1964, Mark Murphy met Eddie O’Sullivan, a young Londoner. It was a discreet relationship, since homosexuality was then illegal in the UK, as elsewhere. They lived quietly together in a flat in Kensington as Mark’s career continued on its steady, unspectacular course. He made two more albums in London, as well as another – Midnight Mood – in Germany. Times became economically tough as the Sixties closed, and Mark found sporadic acting work. Eventually the death of his mother in 1972 prompted him to return to the USA.

Chapter 7

Ready for Anything [+–] 62-79

Living in a camper van known as Big Bertha to save money, Murphy began rebuilding his American career in the north-eastern cities, and signed a deal with Muse Records, recording one of his most notable albums, Mark Murphy Sings. He arranged for Eddie to go through a marriage of convenience so he could legally settle in the USA, and by the late Seventies they were living together in San Francisco. The Stolen Moments album received airplay, and back in England a Mark Murphy fan-club was established.

Chapter 8

Where Fountains Drip in a Forgotten Tempo [+–] 80-90

Murphy’s fascination with the writing of Jack Kerouac resulted in his iconic Bop for Kerouac album. He toured extensively overseas, taking in Australia and New Zealand for the first time, as well as Finland, the UK, Holland and Brazil, after which he was inspired to record Brazil Song, his first all-Latin album.

Chapter 9

It’s Hot, it’s Red Lights, it’s Exciting! [+–] 91-102

In the mid-Eighties a jazz dance craze swept the UK, as DJs like Gilles Peterson went looking for the original bebop and Latin sources of samples used in hip-hop. Mark Murphy tracks like Milestones quickly became dancefloor favourites, and Murphy himself became a major live attraction for this younger audience. Meanwhile he continued to record for both Muse and the Milestone label.

Chapter 10

I Remember Less and Less, Except you Baby [+–] 103-113

Towards the end of 1989, Eddie O’Sullivan died from an AIDS-related illness. Devastated by the loss, Mark Murphy went into a personal decline, which was matched by some professional lows. However he became a visiting professor of vocal jazz at the University of Music and Performing Arts in Graz, near Vienna, continuing to teach there for most of the Nineties.

Chapter 11

A Wild Animal, or a Child [+–] 114-123

Following its Eighties revival in popularity, the jazz business once again hit hard times in both the US and the UK during the following decade. Murphy spent much time working on the album that became Song for the Geese, and was honoured to have his repertoire featured in a Canadian dance show called Stolen Moments. From 1995 onwards he was championed and supported by Cindy Bitterman, a wealthy socialite.

Chapter 12

Age only Matters if you’re a Cheese [+–] 124-136

Although he never won a Grammy, Murphy was nominated five times, and in Downbeat magazine’s annual poll, he won Best Male Singer in both 1996 and 1997. At the same time Murphy-influenced younger singers – particularly Kurt Elling – were beginning to forge successful careers. Murphy himself relocated once again, this time to rural Pennsylvania.

Chapter 13

The Mother of All Love Songs [+–] 137-149

Both the fan-club and its quarterly magazine Mark’s Times closed after a dispute between Murphy and the club’s secretary Bert Warner. Murphy began recording for the HighNote label, operated by former Muse boss Joe Fields. In Germany he was approached by trumpet-player Till Bronner to record an album of ballads – Once to Every Heart – followed by Love is What Stays, both released by Verve.

Chapter 14

Much to Do and Not a Moment to Spare [+–] 150-164

In 2006, by now in his mid-seventies, Murphy appeared to be suffering from Alzheimer’s: his memory was increasingly poor, he needed help with day-to-day living, and live appearances were becoming few and far between. With the help of new manager Jean-Pierre Leduc, he was re-examined and found not to have Alzheimer’s after all. Placed on new medication, Murphy’s condition improved, and there followed more recording and international performing. His final years were spent at the Lillian Booth Actors’ home in New Jersey. He died in October 2015.

Appendices

Appendix A: A Jazz Singer is a Singer who Sings Jazz [+–] 165-177

Whereas many artists perfect a particular style without becoming innovators, Mark Murphy was a true pioneer of jazz singing. Not only was he a master of pure vocal technique, particularly with bebop, Latin and the ballad, he was capable of limitless invention when it came to scat and other aspects of improvisation. His live performances also incorporated spoken word and broad comedy.

Appendix B: I don’t Want to Stamp out Singers Like Cookies [+–] 178-185

Murphy inspired awe in the many jazz singing students he tutored over the years. He did not teach from a textbook or try to inculcate more than the most basic tenets of the art; his method, rather, was to help individuals to improve. This involved diagnosing what was holding back their performances, whether it was breathing, diction, projection, expression, confidence, relaxation, repertoire or scat singing.

End Matter

Discography [+–] 186-203

Discography

Notes [+–] 204-229

Index [+–] 230-247

Reviews

Assiduously researched and adeptly written....Being a vocalist of note himself, Jones not only sets the material in context but also writes insightfully about the music.
Jazzwise

In short, this is a model biography. Richly detailed, balanced and consistently thoughtful, it should be enjoyed not only by its core audience, committed Murphy admirers, but also by the general reader.
London Jazz News

A 360-degree perspective on Mark Murphy's uniqueness and authenticity. I liked the clear narrative and Peter Jones’ probing, questioning approach; and the section on Murphy’s uninhibited, no-safety-net teaching methods is unputdownable.
Sebastian Scotney, editor of London Jazz News

Author Pete Jones is obviously a dedicated Mark Murphy enthusiast, but his research possessed more of an academic approach than the usual sensationalist tactic acquired by many biographers. The inclusion of two additional appendices and an extensive discography at the end of the book highlight this. The author did not regurgitate known tales but examined and reexamined these and questioned many of the stories and ‘self-created myths’ regarding Murphy throughout the book. His life was so extraordinary that false tales were not required to make Murphy seem interesting – his life was totally unique. Mainstream acknowledgment may have escaped him during his lifetime, but with the passing of time, Murphy will hopefully be recognised as one of the true great voices in jazz.
UK Vibe

Perhaps with a biography this fine, this honest, and this carefully researched, Mark Murphy will reach the wider audience that eluded him in his lifetime. Want some solid advice? Buy yourself any (or all!) of the albums listed above and Peter Jones’ This Is Hip—and enrich your life.
Jazz History Online

Jones writes lucidly and organizes considerable information well. Outside the body of the narrative, he reasonably offers a single appendix to more extensively analyze MM’s singing; there’s another appendix that does the same for the singer’s teaching. There is a complete discography and index. The book performs a valuable service, especially if it impels curious readers to discover the protean, challenging, and rewarding music of Mark Murphy.
The Arts Fuse

Well researched and engagingly written. If you are a Mark Murphy enthusiast before reading this book, you will find many of your existing impressions confirmed, and likely will discover some new elements to consider in your appreciation of him. If this is essentially your introduction to him, it should inspire you to open up your ears to the artistry of one of the select jazz singers ever to grace the scene.
Jersey Jazz

The consummate jazz singer Mark Murphy gets the respect he deserves in THIS IS HIP, Peter Jones’ astute, deeply-researched biography.
Lively Arts

Beautiful biography.... Journalist and singer, Peter Jones wrote the definitive biography of Mark Murphy. An exemplary text, which traces his private and artistic life highlighting the multifaceted personality and analyzing all the albums. A meticulous reconstruction that indulges also on the little known or unknown aspects of private life...
All About Jazz (translated from Italian)

Vocalist Mark Murphy was an innovator whose impact is still being felt in the jazz world. Yet he remains not nearly as well known as many of his contemporaries. Despite building a fervent following and earning the boundless respect of peers, Murphy never really escaped anonymity among the masses. That was the cost of daring to take risks, artistically. The biography gives him his due.
Pop Culture Classics

If you are not familiar with Mark Murphy [1932-2015] then read this work as another familiar tale of a jazz life, glamorous on the outside, a mess beneath the surface. If you were/are a fan of Mark Murphy, a unique jazz singer challenged by the same industry he devoted his life and talents too, challenged as well by the mores of 20th century America, then this will illuminate you to the man and his recordings. [It] will probably stand as the definitive work on Mark Murphy who undeniably, is a great talent and was a gentle soul.
Cadence Magazine

This Is Hip – The Life Of Mark Murphy tells us that Mark Murphy clearly resonated with Mr. Jones from the start, and his beautifully researched book expresses his perpetual devotion to and fascination with the man in all his uniqueness. He objectively addresses the portion of Mark’s life which exemplified his inquisitive nature and daring-do approach. Many of us didn’t get it some of the time, but Peter Jones did. It’s a lovely book, affectionately dedicated to an authentic, much admired jazz innovator.
Carol Sloane

I knew Mark quite well over a number of years.. I wouldn't have believed that I could learn so much more about a man that I already knew. Mr Jones is a most gifted writer and a singer himself. He has written an amazing account of Mark's life - amazing for the story he has dug up... Mark lived a life that was by no means ordinary, but nor was it filled with gripping incident. No detail of family or fortunes escapes Mr Jones and he breathes life into the parade of gigs and recordings that make this into a good read.
Steve Voce, Jazz Journal

Jones's biography is a well-written book, in which the details and the larger picture of the time are very well balanced. At the end of the book there is a thorough discography, which will surely be of interest to those interested in Murphy's music.
Jukka Piiroinen, Valon kuvia

A stunning treatise on Murphy’s life which is an “all one needs to know” on a jazz rebel and revolutionary. With a biography of this quality which is honest and carefully researched, perhaps Mark Murphy will attain the wider audience that sadly eluded him when he was alive.
Bebop Spoken Here

Jones does a fantastic job of piecing together Murphy’s life story, painting a fascinating picture of a unique spirit, a man who embodied jazz, and could improvise with the best instrumentalists....
Jones is an excellent writer, and This Is Hip is an easy an engaging read. The fact that the author is a singer himself adds additional credibility, particularly in the Appendices, which address Murphy’s style and teaching. Overall, this book is highly recommended.
Kind of Jazz

A very successful biography in which the author is able to reproduce the essence of jazz musician Mark Murphy... Highly recommended.
Dr Jazz Magazine

Named as one of the best books for 2018 by Jazz History Online

If you have ever wanted to know what made the vocal styling of Mark Murphy unique, then you need look no farther this remarkable biography by Peter Jones.
Jazz Profiles

This is a comprehensive, worthwhile exploration of the multi-talented singer and the price he paid for his artistic integrity.
New York City Jazz Record

A thoroughly absorbing and well-researched celebration of a musician whose life was like one of his famous scat solos: fearless, uncompromising, outrageous, and even a little cheesy, but never, ever boring.
Record Collector

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This is Hip

The Life of Mark Murphy

Peter Jones [+–]

Jazz singer and journalist

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