[Dixielandjazz] Turk Murphy tunes

Wed Jan 2 12:27:42 EST 2019

My favorite Turk tune is Paddlewheelin Along but I think Bob Helm wrote it. Pat Yankee sings it - note the key change to accomodate her range. Bob does great job on it.

--------------------------------------------
On Wed, 1/2/19,  <dixielandjazz-request at ml.islandnet.com> wrote:

 Subject: Dixielandjazz Digest, Vol 193, Issue 3
 To: manofmusic4u at yahoo.com
 Date: Wednesday, January 2, 2019, 11:00 AM

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 Today's Topics:

    1. Re: Turk Murphy tunes (Tony
 Orr)
    2. SHANGHAI MIMI (Jack
 Mitchell)
    3. Little Enough attribution to
 Turk (Maurice Walker)
    4. Remove me from this stream
 (Pete Grice)

 ----------------------------------------------------------------------

 Message: 1
 Date: Wed, 2 Jan 2019 10:31:26 +1100
 From: Tony Orr <orr.tony at gmail.com>
 To: Bill Haesler <bhaesler at bigpond.net.au>
 Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
 Subject: Re: [Dixielandjazz] Turk
 Murphy tunes
 Message-ID:

 <CADU1B5VZw2gGB=ihSWce95Sqg7duTreRT=F9p3Ypo7t=qSP95w at mail.gmail.com>
 Content-Type: text/plain;
 charset="utf-8"

 Bill

 during one of our trips to Sacramento
 in the '90s, Ed "Doc" Lawless had the
 Creole Bells play "Dot's Nice" for his
 wife, Dottie who the tune was
 written for. Not recorded, though.
 We stayed at the Lawless' house in San
 Francisco. Their involvement in the
 San Francisco revival scene is a whole
 other story. Both have passed on. I
 believe the local jazz club has all the
 material which they accumulated.

 Tony

 On Wed, Jan 2, 2019 at 8:22 AM Bill
 Haesler <bhaesler at bigpond.net.au>
 wrote:

 >
 > > Ron Hayes <Ron at pac-mar.com>
 wrote:
 > > Dot?s Nice is one of Turk?s
 rare tunes.
 >
 > Dear Ron,
 > As this does not seem to have been
 recorded, how do you know about it?
 > <big grin>
 > Wot's the story?
 > Cheers,
 > Bill.
 >
 _______________________________________________
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 >
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 Message: 2
 Date: Wed, 2 Jan 2019 13:44:15 +1100
 From: Jack Mitchell <fjmitch at westnet.com.au>
 To: dixielandjazz at ml.islandnet.com
 Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
 Subject: [Dixielandjazz] SHANGHAI MIMI
 Message-ID: <acdf3591-346d-5bc0-4292-1601c4e4675f at westnet.com.au>
 Content-Type: text/plain;
 charset="utf-8"; Format="flowed"

 A new show, produced by Douglas Hunter,
 will premiere at the Riverside 
 Theatre, Sydney on 10 January, playing
 until 20 January as part of the 
 Sydney Festival.

 Hunter was inspired to create this show
 after hearing, in 2007, an EMI 
 CD of a music style called /Shidaiqu,
 /which is a blend of jazz and 
 Chinese folk music.

 This CD presented a programme of
 /Shidaiqu /tracks from//the discovery 
 in a warehouse in Mumbai (formerly
 Bombay) of 800 metal stampers of 
 78rpm sides recorded in Shanghai mainly
 in the thirties.

 Given a large population of European
 and American businessmen and 
 service personnel in the twenties and
 thirties, Shanghai was a swinging 
 city, particularly for the expat
 population. Pianist Teddy Weatherford 
 moved to Shanghai in 1926. and was
 responsible for bringing much jazz 
 talent to that city. A band led by
 American clarinet/ sax player Joe 
 Aronson led a band, which included four
 Australians, for six months at 
 the Canidrome in 1934. Aronson's band
 was followed by Buck Clayton's 
 group. Weatherford moved to then Bombay
 and recorded there during the 
 war years.

 Apparently the Sydney show will be
 entertaining but of little interest 
 as OKOM. I mention all this because I
 wonder what was on other stampers 
 from that collection.? Surely some real
 jazz or even hot dance music was 
 recorded in Shanghai and would be of
 historic, if nothing else, 
 interest. Even during the Japanese
 occupation we know dance band music 
 was being recorded in Shanghai, and the
 cabarets remained in operation, 
 even if American and English musicians
 were interned.

 Does anyone have any information on
 those stampers? Anyone have an in 
 with EMI to discover the titles
 recorded, even if not the artists involved?

 Best wishes

 Jack Mitchell

 PS: We shouldn't rubbish the thought of
 that style of music. 
 particularly without hearing it. Today
 many western jazz musicians, 
 admittedly of more modern inclinations
 than I, are merging with Indian 
 traditional music.

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 Message: 3
 Date: Wed, 2 Jan 2019 06:16:51 +0000
 (UTC)
 From: Maurice Walker <mwalker637 at aol.com>
 To: dixielandjazz at ml.islandnet.com
 Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
 Subject: [Dixielandjazz] Little Enough
 attribution to Turk
 Message-ID: <1162118643.11691956.1546409811685 at mail.yahoo.com>
 Content-Type: text/plain;
 charset="utf-8"

 ?Dick Baker said:

 >>Others might include

 Little Enough (Chauncey's Tune) (Queen
 City JB attributed it to Turk 
 when they recorded it recently)
 Social Polecat [aka Turk's Blues)
 The Grump (attributed to Turk by Uptown
 Lowdown JB)
 This Way Out (attributed to Turk by
 West End JB)
 Razzy Dazzy (attributed to Turk by
 Black Diamond JB)
 If There Were No Christmas (m. Turk, w.
 Michael Hulett on Turk's Xmas 
 record for See's Candy)
 Christmas Eve (m. Turk, w. Michael
 Hulett on Turk's Xmas record for 
 See's Candy)

 The "attributed" items are not in the
 Stomp Index, so I didn't do any 
 confirming research on them.? I've got
 all those recordings, though, 
 and I'd be happy to send copies of
 those tunes to anyone who wants to 
 learn them.

 ----------------------
 ? ? ? Dick Baker
 >>? djml at dickbaker.org>>?Hey,
 Dick, when you talk about Little Enough and "Queen City JB
 attributed it to Turk," you're talking to me.?My last?date
 as leader of the Queen City Jazz Band was our concert with
 Turk Murphy in Denver on November 6, 1986.? In preparation,
 Turk sent me some scores from which I extracted parts
 for?our guys; some of these were Red Flannel Rag, Social
 Polecat, and This Way Out.??As I listened to various TM
 recordings, I kept hearing Little Enough, until finally I
 said "We've got to?play?that" -- and this was less than a
 week before the concert.? In?transcribing it from the Murphy
 recording,?I?gave a chorus?to myself on banjo.? Discussing
 it at lunch the day after the concert, Turk remarked, "I
 never thought of giving a chorus to banjo,"?to which?I said,
 "you would have if you?were?a banjo player."? The tune has
 been in the Queen City active book ever since.? Anyway,
 while I did not work from a Turk Murphy score, he obviously
 accepted the number as his own work, so I think it can be
 more?than just "attributed to" him.?Parts for This Way Out
 were extracted from Murphy's score numbered 20, which
 clearly says "Turk Murphy July 1971," so this is more than
 just?"attributed to"?as well.?Queen City's other serious
 involvement with Turk Murphy music was in 1984 as the
 on-stage band for the musical Storyville, with music by Turk
 and lyrics by Michael Hewitt.? The show featured the Cleo
 Parker Robinson Dance Ensemble (respected in Denver almost
 to the point of reverence), and was the last main-stage show
 at the long-running Bonfils Theatre -- all-in-all a very
 iconic event for Denver.? In spite of rave reviews, the
 Broadway production, much hoped for?by both Murphy and
 Hewitt,?never materialized.? A DJML posting by Dan Augustine
 dated 28 July 2002 ???? http://ml.islandnet.com/pipermail/dixielandjazz/2002-July/001933.htmltalks
 more about the show, and about the 20 numbers in the
 show, most of which have appeared nowhere else.?(Major
 exception: the recurring Chauncey's Theme was the chorus of
 Little Enough.) ?I have the music for half a dozen of the
 tunes.?Other possibly overlooked music: Two tunes Turk wrote
 with Bud Luckey which TMJB played on Sesame Street (with
 Turk Singing): Alligator King (honoring the number 7), and
 Penny Candy Man (honoring the number 8).? Each can be heard
 on Youtube.?And: The title song and other numbers for the
 movie Alabama's Ghost.? Scenes featuring the band were
 filmed in EarthQuake McGoon's.?And:? the online movie data
 base IMDB credits Turk as the composer of Mack the Knife.?
 Kurt Weill would of course take exception to this.? Turk
 wrote the arrangement which Louis Armstrong used (and which
 appears to have been, ah, appropriated by Bobby Darin, to
 much greater fame and fortune).???And:? Satan's Cakewalk is
 credited to "unknown."???It started life as Koonland Koffee
 Klatsch, written by J P Greenberg in 1904. ?It was recorded
 by the Ossman-Dudley trio in January of 1906 as The Koontown
 Kaffee-Klatsch.?I suspect?it was redeveloped by Turk Murphy
 and renamed to Satan's Cakewalk to avoid using the
 unfortunate original title.?Finally:? Little Enough was
 written to honor the man who gave Turk Murphy a house.??Lest
 you think I made a mistake, I'll repeat that : a man GAVE
 Turk Murphy a house in San Francisco, and Turk thought it
 was?"little enough" to do to write a song in
 his?honor.??Maurie Walker????
 ?
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 Message: 4
 Date: Wed, 02 Jan 2019 07:43:56 -0500
 From: Pete Grice <pgrice2987 at aol.com>
 To: dixielandjazz at ml.islandnet.com
 Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
 Subject: [Dixielandjazz] Remove me from
 this stream
 Message-ID:
     <mailman.4.1546448403.32507.dixielandjazz at ml.islandnet.com>
 Content-Type: text/plain;
 charset="utf-8"

 Remove me from this stream.

 Sent from my Verizon Wireless 4G LTE
 Droid
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