"Modern Sounds," or: Running a Marathon in Full Body Armor
The evening's third and final performance, "Jazz Themes from The Subterraneans," music from Andre Previn's soundtrack for the film inspired by the Jack Kerouac novel of that name, was to have ended at 10:45. Instead, it started at 10:45. A handful of diehards remained, including this one, but after two selections"Bread and Wine," "Guido's Blackhawk"I quietly excused myself and headed upstairs to bed. Fourteen-plus hours of jazz in various forms was quite enough for one day.
Sunday, October 23
Sunday, the last day of "Modern Sounds," began as usual with a filmed anthology, "West Coasting," that embodied clips of Les Brown's band, the Dave Pell Octet, Mel Torme, Pete Jolly, the Shorty Rogers Big Band, Jimmy Giuffre, Lou Levy, Anita O'Day, Richie Kamuca and Frank Rosolino. That preceded Ken Poston's tribute to the legendary sound engineer Roy DuNann who was there to discuss his groundbreaking work for Contemporary Records in the 1950s. Also taking part in the discussion were audio engineer Bernie Grundman and John Koenig, the son of Lester Koenig, founder and president of Contemporary, who lured DuNann away from Capitol Records.
The last of the four poolside concerts was devoted to the music of jazz French horn player John Graas, with Ken Wiley sitting in for Graas and leading a nonet whose other members were trumpeter Jeff Bunnell, tubaist Bill Roper, alto Bruce Babad, tenor Glen Berger, baritone Bob Carr, pianist Konrad Paszkudszki, bassist Jennifer Leitham (good to have her back on the West Coast) and drummer Dick Weller. Sadly, the sound system did Wiley no favors (he was for some unknown reason seated in the back row next to Weller) and his wind-blown French horn was barely audible through the first several numbers. Nevertheless, another well-played set from the album Jazz-Mantics including "Jazz Overture," "Argyles," "Let's Fall in Love," "Blue Haze," "6-4 Trend," "Flip Tip" and "I.D."
I approached the next concert with trepidation, as its title, "Orbits in Sound: the 12-Tone Compositions and Arrangements of Spud Murphy," was less than inviting. Having endured two hours of twelve-tone discord the day before, I was not eager to hear more of the same. On the other hand, I reasoned, you've come this far . . . how much discomfort can another hour of it cause? So I found a seat near the back of the room and prepared for the worst, whenholy Schoenberg, Batman!I found myself listening to some of the loveliest and most enchanting music I'd heard all week! Needless to say, I was taken completely by surprise. Is this the way twelve-tone jazz can sound? The way it should sound? If so, what had I been listening to on Saturday? I had to learn more about Lyle "Spud" Murphy, a man whose name I had heard but whose music I hadn't. Murphy (given name Stefanovic) was born in Germany, grew up in Salt Lake City, was a multi-instrumentalist who once served as a staff arranger for Benny Goodman, had a long career as a composer and arranger in Hollywood, and was an educator who is perhaps best known for his 1,200-page textbook, "System of Horizontal Composition" (also known as the Equal Interval System). Murphy died in 2005, two weeks short of his ninety-seventh birthday.