Virtuoso jazz guitarist Bill Murphy in the San Francisco Bay Area

Following the styles of the masters:    
* Solo jazz guitar, to warm your event or party with sophisticated sounds   
* Duets with great jazz bassists, vocalists or horn players - smooth backgrounds
* Jazz trios with drums and bass to fill the room with energy
Contact me at
Here is my solo guitar sound, on "Our Love is Here to Stay" 

Warm your space with mellow jazz guitar sounds...
virtuoso in the San Francisco Bay Area performing classy and chill backgrounds for wineries, parties, clubs and special events.

A quiet ambience that respects guest conversations.

Thursday, July 13, 7pm 
In duet with jazz vocalist Moy Eng 
Vino Locale Wine Bar, 431 Kipling, Palo Alto

Wednesday, July 19, 7pm 
In duet with jazz vocalist Moy Eng 
Vino Locale Wine Bar, 431 Kipling, Palo Alto

Sunday, July 30, 1pm 
In duet with acoustic bassist Charlie Channel 
Dana Street Roasting Company, 744 Dana, Mountain View

Wednesday, August 2, 7pm 
In duet with acoustic bassist Charlie Channel 
Vino Locale Wine Bar, 431 Kipling, Palo Alto

Sunday, August 6, 1pm 
In duet with jazz vocalist Moy Eng 
Dana Street Roasting Company, 744 Dana, Mountain View

Thursday, August 10, 7pm 
In duet with jazz vocalist Moy Eng 
Vino Locale Wine Bar, 431 Kipling, Palo Alto

Wednesday, August 16, 7pm 
In duet with jazz vocalist Moy Eng 
Vino Locale Wine Bar, 431 Kipling, Palo Alto

August 27 thru September 4
Burning Man, Black Rock City, Gerlach, Nevada
"Your Very Own Theme Music Written Right Here, Right Now, Just Ask..." 
This is an interative art project where a passerby stops and talks with me about their life, their dreams and demons. As they speak, I quietly compose an instrumental piece on guitar, which we then record on a smart phone and send to their home email.... VOILA!  As a personal gift, their very own theme music is waiting in their inbox when they get home.

Blog post:  7/13/17...
 Every year I attend an eight-day music camp in La Honda, California... the awesome, awesome JazzCamp West, and this was my 13th year. The 2017 camp happened about ten days ago, and I have a music buzz you wouldn't believe to practice, jam and gig more - a buzz that will last at least the next six months.
Thanks go out to executive director Stacey Hoffman and artisitic director (and magnificant singer) Madeline Eastman, and to new artistic director starting next year Allison Miller - one of the best drummers on the planet. I urge every musician reading this to check JazzCamp West out, then think about giving it a shot in 2018. I guarantee you will improve as a player and grow in community.

High points for me this year were studying African American field holler and work songs with the fine Bay Area singer Tammi Brown, and playing in a combo led by one of our era's greatest drummers, Mike Clark. Mike came to fame as one of the pioneers of the Oakland funk sound and as a result got picked up by Herbie Hancock, making a key contribution to Hancock's successful Headhunters albums Thrust, Death Wish, Flood, Man Child, Survival of the Fittest and Straight from the Gate. Mike has made his home in New York for 30 years and is one of our era's most kick-ass straight ahead jazz drummers.

JazzCamp West is open to every person of any skill level interested in jazz, Brazilian and blues, and also has dance classes in modern, salsa and hip hop as well as songwriting classes. The faculty concerts in the evening are fantastic as are the late night jams, the food's good (it's a YMCA camp and they give you three solid meals every day plus all the coffee you can drink), and no other camp in the world takes place in a cathedral-like redwood forest - cool and pleasant when the rest of the nation is sweltering. And it's only about eight miles to some of the finest beaches in Northern California!

Blog post:  5/25/17... A few days back I had two gigs in a row, and they couldn't be more different... in a good way - fun.  The first was two sets on solo jazz guitar, and for once the room was quiet with all these romantic couples at the tables.  And sure enough, the quieter I played, the better service it felt like I was providing... here is the set list that revealed itself (I rarely plan sets, and prefer to choose tunes on the fly based on what the room seems to need).

Lady be Good - a jazz standard
Lonesome Mountain - an original folk tune
Blue in Green - a Miles Davis jazz standard
Mood Indigo - a Duke Ellington jazz standard
Come Sunday - a Duke Ellington jazz standard
Home is Where the Pie Is - an original blues tune
Chewing on the Blues - an original jazz tune
Days of Wine and Roses - a jazz standard
Mother Nature's Son - Beatles
Misty - a jazz ballad
Down by the River - Neil Young, via Roy Buchanan
Greensleeves/Autumn leaves - via Kenny Burrell
Stella by Starlight - a jazz standard
Blackbird - Beatles, really, it's a folk tune
First dance at Sean and Casey's wedding - original folk
Blues for Keith Richards/Joe Pass Blues - original blues

Then, the next night was a duo with the great jazz bassist, Charlie Channel.  We went in a completely different direction, drawing each piece out by extending the intros and endings and just... grooving.  Much, much shorter set list, but the same two hour gig.  As a theater game, I played at channeling Jerry Garcia's improvisation style, which I felt really flowed on Nardis and Invitation, as well as Beautiful Love - a jazz standard that orginally appeared in the old Hollywood monster movie, the Mummy with Bela Lugosi! 

Nardis - a Miles Davis jazz standard
Blues for Donnie Flim Flim - made it up on the spot
Invitation - a jazz standard
Mercy, Mercy, Mercy/Feelin' Alright - vintage rockers
Stella by Starlight - a jazz standard
Beautiful Love - a jazz standard
Yesterdays - a jazz standard 
Wave - a Brazilian jazz standard
Honky Tonk Woman/Brown Sugar - vintage rockers

Notice that, by the end, Charlie and I were bored with jazz and wanted to play something with balls... go Mick and Keith!  Check out what may be the Stones' final album, the recently-released Blue and Lonesome?  It's hot stuff, the best they've done in decades...

Blog post:  5/23/2017... Wow, whoever said "study the Masters" really got it:  I've been grooving to albums by Jimmy Smith and Wes Montgomery last couple of days, and it's ridiculous (and humbling) how much a musician can learn from a five-second molecule of their genius... here's one of the YouTubes,below. (How the hell does Wes play so fast without ever feeling like he's exerting himself... his lines are deceptively calm! The only thing I can think of is that it comes from the person, from inside. I genuinely don't hear his stuff as sounding difficult, then you try to PLAY it and, no, you haven't got a freaking chance at being that calm...).

Blog post:  4/21/2017... In the last week three fun gigs at Vino Locale wine bar in downtown Palo Alto, California: A night backing up jazz singer Moy Eng, a night working with jazz violinist Marty Honda, and a session with bassist Charlie Channel.  Wow, all of them have never sounded better (and are a real inspiration lifting my own playing).  

Also, about ten days ago a very enjoyable duet gig with sax player Esther Berndt at Backyard Coffee in Redwood City, California.  Spring is here!

Blog post:  3/27/2017... Great fun playing a duo gig with acoustic bassist Charlie Channel at Dana Street Roasting Company in Mountain View yesterday, courtesy of host Nick Chaput.  Giving tribute to what might be the last blustery day Central California experiences before the spring warmth kicks in, we played at cloudy-day moods superimposed over this song selection:  Footprints in  F#,  Night and Day, Alone Together, There is No Greater Love, Yesterdays, On Green Dolphin Street, Stella by Starlight, Blue in Green, and House of Jade.

Blog post:  3/21/2017... Pat Martino completely hit the ball out of the park, at last night's Cafe Pink House gig in Saratoga, along with organ player Pat Bianchi and drummer Carmine Intorre!  Their two sets were magnificent and I'm humbled and well-aware how truly special it was to hear such players... sometimes words like that get thrown around loosely, but I really feel it.  

Pat himself, in particular, was a force of nature with attack and clearity in his guitar mastery that are darn near perfect - it gives the rest of us mere mortal guitarists a very high mark to shoot for, while as I said being very humbled by the experience.

 I had the good fortune to get Pat Martino's autograph after the first set, on my copy of his lovely autobiography, "Here and Now."


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