Turk grew up in the north-central California farming
community of Palermo. When he was 19, he joined the Merle Howard Orchestra
where he met Bob Helm, who was in the reed section. The next year (1935) saw
him with the Val Bender Orchestra in Texas and then Will Osborne’s big band
where he recorded for the first time. He had another stint with a big band (Mal
Hallett) before returning to the Bay Area to play Dixieland gigs with Bob Helm.![]() |
| Turk & Lou Watters |
It was at the Dawn Club on Annie Street, behind the
Palace Hotel in San Francisco, that the band became a magnet for traditional
jazz fans from far and near before and right after World War II. Watters teamed
with Bob Scobey to emulate the two-cornet combo of King Oliver and Louis
Armstrong in Oliver’s Creole Jazz Band from the 1920s. The band was soon
getting offers from the East Coast and Europe, but Watters was reluctant to
travel. So in 1949, Turk left the band and formed his own group that initially
was known as the Bay City Stompers. But he was told that his name would be more
recognizable, so the band henceforth was always the Turk Murphy Jazz Band.
During the 1950s, the band was rarely in San Francisco.
For three years, it was based in New York City where they played all the
popular clubs of the day such as The Roundtable, Embers and Basin Street East.
At The Embers, which was a long narrow room with a small bandstand, and tables
jammed tightly together, Turk
recalled, “We had to stuff rags in our horns to
avoid offending people who wanted to carry on conversations at tables right
under the band.” .The band appeared on The Ed Sullivan Show twice, in 1959 and
1965.
recalled, “We had to stuff rags in our horns to
avoid offending people who wanted to carry on conversations at tables right
under the band.” .The band appeared on The Ed Sullivan Show twice, in 1959 and
1965.
K.O. Eckland, in his Jazz West book, wrote, “Despite
continual personnel changes, which was typical of bands with such demanding
schedules, Murphy retained the integrity of his own sound due to his rigid
structuring of the basic music, and by developing his own library of ensemble
arrangements.”
His bands were always very musical; among his sidemen
through the years were trumpeters Don Kinch, Bob Short, and Leon Oakley;
clarinetist Bob Helm; pianists Wally Rose, Pete Clute, and Ray Skjelbred; and
singer Pat Yankee. Turk Murphy and his beloved group made many records for such
labels as Good Time Jazz, Fairmont, Columbia (1953-1956), Verve, Dawn Club,
Roulette, RCA, Motherlode, Atlantic, GHB, MPS, Stomp Off, and Merry Makers.
By 1960, Turk and his musicians were tired of travel and
returned to San Francisco where Turk opened his own club, taking the name from
Al Capp’s comic strip, Li’l Abner— Earthquake McGoon’s. When Turk asked for
permission to use the name, the cartoonist replied, “I hereby give you
permission to use the name Earthquake McGoon as long as you play good jazz and
keep your nose clean.” The band became such a SFO fixture that McGoon’s was
even included on tourist bus routes.
During the next 24 years, there were four different
Earthquake McGoon’s. Turk lamented, “They kept tearing them down and replacing
them with monuments. They were never monuments to me. They didn’t consider me
monumental.” In later years, the band could usually be found at the New Orleans
Room of the San Francisco Fairmont.
Turk is the subject of several books that are still
available through Amazon. His discography lists over 40 albums. The band
appeared on the Ed Sullivan TV Show twice, and Turk sang as a character in two
1971 Sesame Street cartoon shorts. Turk Murphy Day was twice proclaimed by San
Francisco mayors—1974 and 1987, the later in connection of band’s sold-out
appearance at Carnegie Hall. Turk at the time had been diagnosed with bone
cancer and was undergoing chemotherapy. It was to be his last public
appearance, and he passed away on May 30, 1987 at the age of 71.
Murphy's memorial service drew so many people that all
1,500 seats in Grace Cathedral were filled. It was the traditional jazzman's
funeral; there was the solemn liturgy of the Episcopal Church and as
counterpoint, the wistful, sometimes sad, sometimes raucous music of the San
Francisco Jazz Band echoing in the vaulted ceiling of the cathedral.
![]() |
| Turk at Carnegie Hall, 1987 |
(Edited mainly from Lew Shaw’s article in The Syncopated Times)





