Lyle "Spud" Murphy was an extraordinary composer-arranger who recorded only two LP albums as a leader in the mid-1950s—despite starting his recording career in 1928. Murphy arranged for Benny Goodman in 1935 and '36 before recording as a leader in 1939 in the 78 era. He also played trombone in Charlie Barnet's band from 1939 to '41. During the pre-war years, Murphy wrote more than 600 arrangements and more than 100 compositions.
After serving in the Merchant Marine during World War II, Murphy returned to Hollywood and arranged for the movies. In 1948, he developed a 12-tone scale system based on patterns rather than on keys. His 12-tone invention had nothing to do with Arnold Schoenberg's atonal 12-tone system. Instead, it was suited to jazz and produced breezy compositions that sounded as if they were flying around on a magic carpet.
Murphy recorded works based on his 12-tone system in 1954, '55 and '57. They were released on Four Saxophones in Twelve Tones, a 10-inch album; 12-Tone Compositions and Arrangements by Lyle Murphy (later re-issued as Gone With the Woodwinds) and New Orbits in Sound (which included the Four Saxophones album plus four new arrangements).
All of this material is exceptional, combining foot-tapping arrangements with a modern feel akin to Lennie Tristano's approach on piano and in his groups. There was a contemporary moodiness that was contemplative but never brooding. The album I want to focus on in this post is New Orbits in Sound.
The 1954 recordings for saxophones included Tone Poem, I Only Have Eyes for You, Frantastic, Caleta, Lost in a Fugue, Frankly Speaking, Illusion and Crazy Quilt. The band featured Russ Cheever (sop); Frank Morgan and Benny Carter (as); Buddy Collette (ts); Bob Gordon (bar); Buddy Clark (b); Chico Hamilton (d) and Spud Murphy (comp,arr,cond. and celeste on Tone Poem). Morgan was the soloist.
The 1957 tracks were Orbit, Misty Rose, Slightly Off Center and Daily Double. The band featured Milt Bernhart and Dick Nash (tb); Russ Cheever (sop); Buddy Collette (as,ts); Morrie Crawford (ts); Bill Ulyate (bar); Curtis Counce (b); Larry Bunker (d) and Spud Murphy (comp,arr,cond).
As you'll hear, the material was intricate and demanded the finest jazz players and sight-readers in Hollywood at the time. And yet, to the ear, the music is as breezy and as light as cotton candy. I've always admired Murphy's music for its fanciful smoothness and for the progressive and engaging formula it uses to stand out.
Hopefully, a label will release Murphy's leadership material from the late 1930s.
Lyle "Spud" Murphy died in 2005 at age 96.
JazzWax tracks: You'll find all of Murphy's 1950s leadership recordings on one CD—New Orbits in Sound: Lyle "Spud" Murphy and his 12-Tone System (Fresh Sound) here.
JazzWax clips: Here's Orbit in 1957, with Buddy Collette on alto saxophone...
Here's I Only Have Eyes for You in 1954, with a solo by Frank Morgan on alto saxophone...