It seems incredible that this should only be Murphy’s second British release, for his stature makes him easily the most important new singer of the decade. On Rah, his earlier Riverside album, he astonished with a number of devastatingly eccentric jazz performances and a couple of superb slow ballads. Here he is more orthodox, but still maintains the stylistic individuality which makes him as unmistakable as a Fitzgerald or a Sinatra (and make no mistake, this is certainly Murphy’s league).
Here, as on Rah, Murphy has the advantage of better than ordinary accompaniments, and one of the most interesting aspects of the LP is the high standard of the three arrangers’ work. The exhilarating jazz sound comes from Hayes, while Dankworth tends to be more introspective. Les Reed, who handled the tracks with strings, manages to be lush without being sickly, and the resulting depth gives Murphy an ideal setting for two more classic balled performances – Foolish Heart and I’ll Be Around. It is difficult not to be converted to Murphy instantly, for he somehow has the knack of imparting his mood to the listener, particularly when in effervesence, as in Ballyhoo, Hannah and Best.
She Loves You is a delightful essay into Beatleism, completely removed in style from the Lennon-McCarthy original, but, by virtue of the fact that it is an excellent tune, none the less potent. (Let’s not be snobby – McCartney and Lennon as composers are far more original than any of the tiny imposters who populate Tin Pan Alley these days).
Hayes’ arrangement, rhythmically reminiscent of Joe Williams’ The Comeback with Basie, rocks delightfully and the brass roars with a Quincy Jones opulence. There is also a wistful Yeah, Yeah, Yeah spoken with wa-wa mutes and a T-Bone Walker type guitar. Once again Murphy’s penchant for obscure but good songs reveals itself in I Left My Heart and Iceberg (this latter written by Day and Zeffertt, an English team). The extraordinary slow tempo for Happy Days brings out the best from what was otherwise a bit of a Mickey Mouse tune.
The sleeve note was written rather patronisingly by a member of the Sinatra appreciation society. It seems that the society can only justify Murphy by saying that he is the best jazz singer, while Sinatra is the best of the pop crooners. With Murphy around, I’m afraid that Sinatra becomes obsolescent, and there is little doubt in my mind that Murphy is the best modern singer in the world, be it jazz or superior balladry. Finally, a re-emphasis of appreciation for Dankworth, Hayes and Reed. They have certainly done a remarkable job with their various groups, and the result is an album which will no doubt be worn out as quickly as my second copy of Rah has been.
One assumes that, with the defection of the Riverside, Murphy’s supposedly best LP, That’s How I Feel About The Blues, will not now be issued here. If anyone has a spare copy, I know someone who wants one rather badly…
Discography
Ballyhoo; (b) She Loves You; (c) My Foolish Heart; (b) Iceberg; (c) Happy Days Are Here Again; (a) I Left My Heart In San Francisco (24 min) – (b) Hard Hearted Hannah; (a) Stable-mates; (c) I’ll Be Around; (a) From Time To Time; (c) Come Rain Or Come Shine; (b) The Best Is Yet To Come (16 min)
Mark Murphy (vcl), with accompaniments directed by (a) Johnny Dankworth; (b) Tubby Hayes and (c) Les Reed. London. 1964.
Fontana TL 5217 12inLP 33s. 1d
