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affections of innumerable women, and having a whale of a time". Jones wrote, "The one thing Murphy hadn't yet tried was just being himself". Although none of his
Capitol records were as commercially successful as Murphy and his label had hoped, they marked the beginning of a long, interesting and influential career. Although he never became a star, he would become a highly respected performer noted for his fearlessness and an influential vocal coach. Just before this compilation came out Murphy won the 1996
199:, "First, being a good piano player, he went into the Capitol studios and recorded a demonstration of each tune the way he heard it, accompanying himself. Second, he knew the exact feeling he wanted on each section of each tune. For example, he was able to indicate where the conga drum should or should not be used to get the sound he wanted . . . equal arranging credit should go to him".
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In the liner notes James Gavin tells how Murphy was staying at the YMCA, searching for work as a singer, when he got his second career break in 1958. Murphy said it was, "The year I was starving in
Hollywood – literally. As soon as I signed the contract I went over to this cafeteria, just sliced that
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Will
Friedwald said that the taken together albums made during his early recording career from 1956 to 1960 "reveal a young singer with a strong, dark, attractive voice, with a lot of good ideas and an obvious commitment to the jazz idiom-but one who stops just short of having a sound and a style of
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was a minor hit for Murphy. But album sales were weak, critical reception was tepid and the reviews were mixed. Murphy said, "I had tried to compromise, which of course was a mistake. People who wanted those songs didn't want to hear me, and people who liked me didn't want to hear those songs . . .
354:
Murphy's biographer Peter Jones points out that Murphy had grown up and matured with bebop and swing, but he was now trying to achieve stardom in the mainstream commercial record market. "That seemed to mean presenting himself as a young hipster, a swinging cool dude around town, toying with the
446:
his own". Friedwald wrote, "As Murphy himself noted, the audience for these songs just wasn't his, and vice versa-even though he succeeded in doing something aesthetically interesting and indeed hip with material that no one would have thought could lend itself to such a treatment".
328:' vocal recording. Murphy adds a few original lines. Murphy and Producer Tom Morgan thought it had potential to be a hit single but Capitol refused to release and promote it as a single. Murphy said, "By that time they had given up on me. They released the album and said Goodbye".
29:
435:, he writes that the album is "an excellent overview of the three albums Murphy recorded for Capitol in the late '50s that proves he was one of the more underrated singers of his era. Murphy is an inventive vocalist, putting new spins on songs".
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Murphy told Will
Friedwald that he went to California "looking for places to work. Instead, to his surprise, instead of getting gigs, he got the chance to make the three albums for Capitol".
279:. Murphy said, "He was fantastic – played like Erroll Garner and sang like the Italian singers in Philadelphia, where he was from. He did the hippest tunes in New York at that time, like "
195:
where she described Murphy's vocal approach, "He phrases like a horn, and a horn with a modern sound". Bill Holman described Murphy's role in the arranging process in the liner notes to
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He writes, "The Best Of Mark Murphy has the high points from his three
Capitol records, including a popular version of Steve Allen's "This Could Be The Start Of Something Big".
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Capitol
Records producer Tom Morgan signed Murphy to a three-album contract in 1958 on the basis of the 1956 and 1957 albums he recorded for
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283:" and "I Didn't Know About You". If you asked for them, everyone knew you were hip. That's why they sometimes appeared in my records".
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The albums include Murphy in trio settings, small jazz band settings, and with pop background vocals. He records some of his first
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turkey, and ate an enormous meal." Gavin wrote, "Walking back to the Y, he fantasized about becoming the male version of his idol
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We were kind of traumatized." "I'm an alternative singer. In those days we didn't know what to call it", Murphy told Gavin.
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was Murphy's personal choice for musical director and arranger for the albums. Murphy knew of him from his work with
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Producer Morgan and director Holman used many famous West Coast jazz musicians on the recordings. Pianist
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annual reader's poll for best male jazz singer and would win again in 1997. Murphy would next move to
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1174:"Original versions of Put the Blame on Mame written by Allan Roberts, Doris Fisher | SecondHandSongs"
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1041:. Popular music history. Sheffield, UK; Bristol, CT: Equinox Publishing. pp. 22–30.
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appears on all three albums. He was a noted accompanist for singers such as
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145:. Morgan and Murphy would produce three albums together from 1958 to 1960,
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James Gavin curated the selections for this release. Ellington's "
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All of them worked with Peggy Lee. The trumpeters and brothers
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Matt
Schudel (2015-10-26). "Bold, innovative jazz singer".
191:, who Murphy idolized. Peggy Lee wrote the liner notes for
1550:
Mark Murphy Sings the Nat "King" Cole
Songbook, Volume One
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Mark Murphy Sings Mostly
Dorothy Fields & Cy Coleman
1127:"Jimmy Rowles Songs, Albums, Reviews, Bio & Mor..."
985:(1st ed.). New York: Pantheon Books. p. 348.
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A biographical guide to the great jazz and pop singers
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121:is a compilation of selected highlights of singer
1702:A Beautiful Friendship: Remembering Shirley Horn
438:Scott Yanow recommends the release in his book
363:with his first release for that label in 1961.
1361:The Rolling Stone Jazz & Blues Album Guide
1293:. New York: Backbeat Books. pp. 161–162.
1103:. (Liner notes). Mark Murphy. Capitol Records.
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1116:(Liner notes). Mark Murphy. Capitol Records.
1090:(Liner notes). Mark Murphy. Capitol Records.
609:This Could Be the Start of Something (album)
1796:Mark Murphy Sings Nat King Cole & More
1772:The Best of Mark Murphy: The Capitol Years
1721:Wild and Free: Live at the Keystone Korner
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1342:The Best of Mark Murphy: The Capitol Years
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1088:The Best of Mark Murphy The Capitol Years.
857:Tiny Bradshaw, Eddie Johnson, Bobby Plater
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118:The Best of Mark Murphy: The Capitol Years
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22:The Best of Mark Murphy: The Capitol Years
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1678:Memories of You: Remembering Joe Williams
16:1997 compilation album by Mark Murphy
878:Ben Bernie, Kenneth Casey, Maceo Pinkard
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1804:Crazy Rhythm: His Debut Recordings
1574:Night Mood: The Music of Ivan Lins
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286:One of Capitol Records founders,
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1542:Brazil Song (Cancões Do Brasil)
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332:The Best of the Capitol Years
1454:That's How I Love the Blues!
1534:The Artistry of Mark Murphy
920:"Hit the Road to Dreamland"
701:"Wishing (Will Make It So)"
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179:Jazz musician and arranger
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1764:Stolen...And Other Moments
1263:Erlewine, Stephen Thomas.
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779:I Only Have Eyes for You
765:Mark Murphy's Hip Parade
193:Mark Murphy's Hip Parade
152:Mark Murphy's Hip Parade
1837:1997 compilation albums
1518:Satisfaction Guaranteed
1267:The Best of Mark Murphy
954:James Gavin – producer
623:I Didn't Know About You
433:Stephen Thomas Erlewine
269:I Didn't Know About You
262:Great American Songbook
1112:Holman, Bill. (1959).
1086:Gavin, James. (1997).
881:Bernie, Casey, Pinkard
805:"That Old Black Magic"
304:. A Murphy favorite, "
125:'s recordings for the
1590:Kerouac, Then and Now
1289:Yanow, Scott (2008).
1037:Jones, Peter (2018).
485:Put the Blame on Mame
306:Put the Blame on Mame
1566:Beauty and the Beast
1223:Washington Post, The
1099:Lee, Peggy. (1960).
651:The Blacksmith Blues
372:Professional ratings
336:The Blacksmith Blues
1670:Once to Every Heart
1363:at Internet Archive
1356:at Internet Archive
1241:secondhandsongs.com
1202:secondhandsongs.com
1178:secondhandsongs.com
1154:secondhandsongs.com
873:Sweet Georgia Brown
723:"As Long as I Live"
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543:"Playing the Field"
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275:'s 52nd street bar
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1630:Song for the Geese
1614:I'll Close My Eyes
517:Swinging on a Star
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1582:September Ballads
1494:Mark Murphy Sings
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992:978-0-375-42149-5
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755:Carolyn Leigh
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705:Buddy DeSylva
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675:"Kansas City"
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573:Johnny Mercer
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491:Allan Roberts
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450:Track listing
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377:Review scores
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366:
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319:Rita Hayworth
316:
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298:Charles Boyer
295:
294:
289:
288:Buddy DeSylva
284:
282:
278:
274:
273:"Jilly" Rizzo
270:
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251:Conte Candoli
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228:Joe Mondragon
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143:Decca Records
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1290:
1284:
1273:. Retrieved
1266:
1244:. Retrieved
1240:
1231:
1222:
1216:
1205:. Retrieved
1201:
1192:
1181:. Retrieved
1177:
1168:
1157:. Retrieved
1153:
1144:
1133:. Retrieved
1129:
1121:
1113:
1108:
1100:
1095:
1087:
1038:
981:
953:
790:Harry Warren
732:Harold Arlen
683:Mike Stoller
679:Jerry Leiber
523:Johnny Burke
495:Doris Fisher
444:
439:
437:
426:
353:
342:. The song "
331:
330:
312:
296:co-starring
291:
285:
276:
266:
255:
241:Shelly Manne
224:Julie London
204:Jimmy Rowles
201:
196:
192:
178:
165:
157:
146:
136:
117:
116:
115:
99:Capitol Jazz
1713:Live albums
1558:Living Room
1473:(1969-1993)
1398:Mark Murphy
1347:MusicBrainz
854:Buddy Feyne
727:Ted Koehler
657:Jack Holmes
629:Bob Russell
547:Steve Allen
348:Steve Allen
326:Anita Ellis
302:Irene Dunne
293:Love Affair
220:Anita O'Day
216:Jo Stafford
185:Stan Kenton
181:Bill Holman
139:Milt Gabler
123:Mark Murphy
110:James Gavin
42:Mark Murphy
1821:Categories
1622:Very Early
1275:2024-06-02
1271:. AllMusic
1246:2024-06-02
1207:2024-06-02
1183:2024-06-02
1159:2024-06-02
1135:2024-05-28
958:References
760:Cy Coleman
749:Witchcraft
578:Rube Bloom
133:Background
71:Vocal jazz
1737:Just Jazz
1470:The Dream
1001:458892544
950:Personnel
900:Lew Brown
898:DeSylva,
367:Reception
361:Riverside
322:lip synch
317:in which
310:film noir
236:Stan Levy
232:Mel Lewis
189:Peggy Lee
175:Recording
169:Peggy Lee
60:1958–1960
1788:Songbook
1335:AllMusic
1130:AllMusic
785:Al Dubin
429:AllMusic
391:AllMusic
357:DownBeat
106:Producer
57:Recorded
49:Released
39: by
1486:Mark II
1323:Discogs
709:DeSylva
1807:(1999)
1799:(1999)
1791:(1999)
1783:(1998)
1775:(1997)
1767:(1997)
1748:(2000)
1740:(1993)
1732:(1990)
1724:(1980)
1705:(2012)
1697:(2010)
1689:(2007)
1681:(2003)
1673:(2002)
1665:(2001)
1657:(2000)
1649:(1999)
1641:(1996)
1633:(1995)
1625:(1993)
1617:(1991)
1609:(1991)
1601:(1990)
1593:(1989)
1585:(1987)
1577:(1986)
1569:(1985)
1561:(1984)
1553:(1983)
1545:(1983)
1537:(1982)
1529:(1981)
1521:(1979)
1513:(1978)
1505:(1977)
1497:(1975)
1489:(1973)
1481:(1972)
1465:(1967)
1457:(1962)
1449:(1961)
1441:(1960)
1433:(1959)
1425:(1958)
1297:
1045:
999:
989:
923:Mercer
837:Berlin
808:Mercer
661:Holmes
475:Length
466:Lyrics
385:Rating
382:Source
324:ed to
238:, and
222:, and
77:Length
1654:Links
942:49:00
926:Arlen
811:Arlen
605:Allen
602:Allen
551:Allen
472:Album
469:Music
463:Title
346:" by
314:Gilda
94:Label
66:Genre
1295:ISBN
1043:ISBN
997:OCLC
987:ISBN
932:2:41
912:1:00
887:2:30
863:1:52
843:3:15
817:2:09
797:3:02
769:3:35
739:1:46
715:3:17
693:2:42
667:2:09
641:3:19
613:3:40
587:3:55
557:2:46
535:2:36
507:2:49
300:and
258:scat
249:and
247:Pete
156:and
52:1997
1446:Rah
1345:at
1333:at
1321:at
917:18.
892:17.
868:16.
848:15.
822:14.
802:13.
774:12.
744:11.
720:10.
459:No.
141:of
1823::
1255:^
1239:.
1200:.
1176:.
1152:.
1057:^
1009:^
995:.
965:^
698:9.
681:,
672:8.
646:7.
618:6.
592:5.
562:4.
540:3.
512:2.
493:,
480:1.
234:,
218:,
214:,
210:,
150:,
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1390:e
1383:t
1376:v
1303:.
1278:.
1269:"
1249:.
1225:.
1210:.
1186:.
1162:.
1138:.
1051:.
1003:.
875:"
871:"
829:"
825:"
781:"
777:"
751:"
747:"
653:"
649:"
625:"
621:"
599:"
595:"
569:"
565:"
519:"
515:"
487:"
483:"
243:.
161:.
154:,
84::
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