Vocalist Mark Murphy is a consummate jazz musician: he’s versatile, vibrant and a true original. A master scat improviser, Murphy’s vocal expression reflects the creative spirit that imbued horn players in the cradle of jazz, New Orleans, a hundred years ago. Murphy’s a jazz singer’s singer, having long been admired among other greats like Betty Carter, Peggy Lee and Shirley Horn. Even legendary vocalist and scat innovator Ella Fitzgerald once said, "He’s my equal." The enthusiasm of this Kennedy Center audience is unequaled, however, as Murphy starts off swinging with the George and Ira Gershwin classic "But Not For Me."

Dr. Taylor notes that Murphy started his musical development by playing piano as a child. Later, legendary pianist Art Tatum’s record "Humoresque" would draw his interest further into the jazz realm. Growing up near Syracuse, NY, both of Mark’s parents were singers as well. Mark remembers first hearing jazz performed during family gatherings at his Aunt’s house, where there were two pianos.

In college, Mark began performing professionally, and he quickly developed an ability to improvise. His big break came when Sammy Davis Jr. caught his act at Syracuse’s Ebony Club. He recalls, "I was doing a scat solo, and I opened my eyes, and there was Sammy tapping his foot in the doorway." Davis’ compliments gave Mark more confidence. Soon after, Murphy saw Davis on the Tonight Show, which was then hosted by Steve Allen. So Murphy wrote Allen a letter in which he said, "I just met Sammy and he likes my work." Mark says Allen "was a great guy;" as soon as Murphy’s first record came out he was invited to perform on the show.

Murphy would later perform with pianist and composer Horace Silver during an engagement in Buffalo, NY in the late 50s. He recalls a humorous story about a scheduling mishap for which Silver apologized some forty years later. Of Silver, Murphy says, "Besides being a genius, he’s got some memory. Whoa!" He then pays a tribute to the master pianist with a soul stirring rendition of Silver’s "Señor Blues."

After the number, Dr. Taylor comments, "You…take a tune…and imbue it with something very personal." An educator himself, Murphy explains that it’s a challenge to teach his students how to find their own voice. He explains that it is a process of discovery that cannot be forced or cajoled. He also attributes his own originality to the process of improvisation. "In jazz, you’re too busy improvising to imitate, so you throw away what you don’t need and you end up with you."

Murphy first toured throughout Europe when his records attained international success in the early sixties. He shares humorous anecdotes about life on the road overseas. Eventually, Mark would stay in England for nine years. On a more recent tour in Italy, Murphy discovered a beautiful song by pianist Alan Broadbent called "Don’t Ask Why," to which he later added lyrics. Murphy’s words evoke the inspiration that ancient civilizations drew from the stars. After Mark’s riveting vocal rendition, Dr. Taylor remarks, "That’s a gorgeous lyric."

Later, Murphy describes the thrill of hearing other vocalists perform his lyrics. He has also written words to pianist Herbie Hancock’s music. When asked if he knows Hancock, Murphy replies, "No, just his hands, his chords!" Joking aside, Murphy suggests that "the emotion in a song is in the chord changes and in the vowels of the words." He continues, "long before we had any languages, the vowels were there saying what people wanted to say…" After this exchange, Dr. Taylor and Murphy put chords and vowels together in Murphy’s enchanting vocal rendition of the Hancock classic "Cantaloupe Island."

One member of the audience asks Murphy which horn players inspired him most. Murphy immediately cites trumpeter Miles Davis. He elaborates, saying that the earliest jazz horn players sounded so unique because they drew upon human vocal expression to create an original sound. Ironically, in rising to the forefront of much jazz expression, horn players are now often cited by singers as influences. Asked about other influences, Murphy names vocalists Jim Christie, Nat "King" Cole, Billy Eckstine, Peggy Lee and Ella Fitzgerald among his early inspirations. More recently, he’s been enamored with the work of Brazilian vocalist Ivan Lins.

Murphy also demonstrates his mastery of vocalese, singing King Pleasure’s adaptation of saxophonist James Moody’s hit, "Moody’s Mood For Love." Murphy and the Billy Taylor Trio conclude an evening of lively conversation and fantastic performances with an up-tempo rendition of Annie Ross’ "Twisted."