Earl ‘Joaquin‘ Murphey (who co-wrote yesterday’s featured song “Steel Guitar Jubilee“) is held in very high esteem among steel guitarists, with one performance in particular — “Oklahoma Stomp” by Spade Cooley’s Orchestra — almost single-handedly cementing his reputation (Bob Dunn, notwithstanding) as the first “sophisticated jazz steel guitar player,” as Texas Steel Guitar Hall of famer Tom Morrell would eulogize in The Independent‘s 1999 obituary of Murphey.
“Murphey’s abilities to combine complex chordal work with remarkably fluid, expressive single-string soloing set him apart from any other steel guitarist in the country” while the aforementioned “Oklahoma Stomp,” is a “Murphey tour de force that’s lost none of his power in the nearly six decades since he recorded it.”
Kevin Rainey’s 2001 tribute to the great steel guitarist for The Journal of Country Music, “Earl ‘Joaquin’ Murphey: Steel Man Extraordinaire,” notes that Murphey was very much a musician’s musician — “Joaquin is my idol,” the almighty Speedy West once declared. One-time Bob Wills musician, Herb Remington, would witness Murphey’s performing with Tex Williams‘ group and remark to Rainey:
“I thought it was a clarinet playing. I couldn’t find him in the band. I went up to the bandstand and I couldn’t find the steel guitar. He was playing a little lap steel way back in the back of the bandstand. And when he played, it was like hearing a good clarinet solo. A jazz solo, which is what he listened to. And it just dumbfounded me. I’d never heard a steel guitar like that before.”
In fact, if you listen to “Oklahoma Stomp,” Murphey’s guitar actually sounds like a clarinet around the 1:20 mark in the song — must be heard to be believed.
Not a lot of pictures of Earl ‘Joaquin’ Murphey out there
“In 1946, Murphey and accordionist George Bamby left the Cooley band to join Andy Parker and the Plainsmen (themselves a Cooley spin-off, having formed from a nucleus in the band led by Cooley bassist and vocalist, Deuce Spriggens). The band worked Pappy Cheshire’s show on KMPC, did the Saturday night Hollywood Barn Dance, recorded for the Coast label, and appeared in some of Eddie Dean‘s westerns. Murphey’s performance of ‘Sweet Georgia Brown’ on Coast remains one of his most revered performances, though it has yet to be reissued on CD.”
How curious that the ever-dependable PragueFrank does not affirm Murphey’s musical presence on Andy Parker and the Plainsmen‘s version of “Sweet Georgia Brown” – a performance that historians and music enthusiasts concede to be Joaquin and no other:
“Sweet Georgia Brown” Andy Parker and the Plainsmen 1946
Wait a minute, I swear I listened to “Sweet Georgia Brown” on YouTube about a week ago … and now I can’t find hide nor hair of it! Was that just a dream – or did it really happen? Today’s blog piece hinged on “Sweet Georgia Brown” being the featured song. Now what?
Plan B: “Let’s Go Sparkin‘” by Eddie Dean & The Plainsmen, with Murphey on steel:
Q: Is it possible that Freddie Roulette is paying tribute to Murphey on his unusually expressive (and previously-celebrated) composition “Joaquin”?
L-to-R top row: George Bamby (accordion), Paul ‘Clem’ Smith & Earl ‘Joaquin’ Murphey.
Bottom row: Charlie Morgan (far L), Eddie Dean (black hat) & Andy Parker (white hat).
Kudos to B-Westerns.com for this photo of Andy Parker & the Plainsmen
What’s in a Nickname?
Most of us have long wondered, was ‘Joaquin’ Murphey of mixed Irish-Latin descent? Actually, no: Murphey, according to Rich Kienzle, earned this sobriquet from country disc jockey, Bert “Foreman” Phillips, “in honor of California’s San Joaquin Valley.”