Tubby HAYES - Voodoo Session

Tubby HAYES - Voodoo Session
2009 Issue.TTT005 Vinyl, 7" Limited to 666 numbered copies.
An evil number indeed to enhance the evil nature of the session.
The record will not be repressed, which again is a bit evil.

Jazz

Bonkers one this. A few years ago there was single from the film Dr Terror's House Of Horror that lots of people wanted. It was issued by CBS. Lots of people wanted it all because they all thought it was this bit of music, from the scene where Roy Castle and the Tubby Hayes Quintet play the Voodoo track. Watch this clip if you can be arsed, and the whole infamous scene starts at about 4.50 (and please note Jimmy Deuchar's Mellophonium).

However, when one copy of this rare single surfaced (and sold later for about £800 a week before it was bootlegged) everyone realised it was a bit crap, and had Roy Castle singing on it, when all anyone really wanted was the instrumental afro voodoo number.

Fast forward to mid 2009, and out of nowhere I get an email from a good jazz man known as Simon Spillett. He is overseeing the recently unearthed Tubby Hayes archive. This is a set of reels and records taken care of first by Tubby's mother, and then later passed on to Tubby's last girlfriend. In amongst these reels is the original session for this super Voodoo scene.

Simon emailed me the tracks, and I got extremely excited - it was the killer tune, the missing music that music people have been waiting for. A few weeks later the tracks were remastered, and a very limited 7" ep was designed, the idea being to make sure we can make enough money so Tubby's girlfriend can afford to fly abroad and see her family.
**
Bass- Freddy Logan
Drums- Allan Ganley
Mellophonium- Jimmy Deucher
Piano- Terry Shannon
Tenor Saxophone, Flute- Tubby Hayes
Trumpet- Shake Keane
Vocal- Kenny Lynch (tracks: B1)
**
A1. Voodoo 
B1. Give Me Love 
B2. Baily's Blues 
**

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Tubby HAYES - London Jazz Quartet 1959

Tubby HAYES - London Jazz Quartet 1959
Tempo TAP28

Jazz

This LP was originally recorded by Jeff Kruger for his Ember label on 14 May 1959 it was leased to Tempo who put it out as a 12 lp just called 'The London Jazz Quartet'.. There is no date on this reissue but it would have been pressed within a few years of the original probably in the late sixties.
The music is not quite typical of Hayes. It’s not driving heavy jazz or anything like that.  It’s the sort of music you might have heard on the soundtrack of many British kitchen sink movies of the sixties. If you were not a fan you might brush it aside as library music. All the tracks are arranged by Tony Crombie and as far as I can remember about half are written by him also. The line up is.
The music is ‘tight’ and very sixties and distinctly British and as I’ve said it’s not unlike British film music of the period….but it’s quality stuff and if you like classic ‘modern’ jazz you will love this. It’s the sort of album that will grow on you. You might feel it’s rather conservative for sixties jazz and that it’s not particularly exciting but you will find yourself putting it on the turntable more and more..just to try to make up you mind if you like it or not…and it will grow on you in spite of it not being ‘progressive’..
**
Tubby Hayes - alto, tenor, flute, vibes
Alan Branscombe - alto, tenor, vibes, piano
Tony Crombie - piano, drums
Jack Fallon - bass
**
01 Copper on the Beat 2:39
02 Slick Riff 2:28
03 Sadie's Song 2:56
04 The Toff 3:40
05 Wait and See 3:24
06 Fishin' the Blues 2:59
07 Lakeland 2:51
08 Cheeky Chappie 2:37
09 The Baron's Blues 2:48
10 Mirage 2:50
11 Autumn in Cuba 3:19
12 Let Nature Take Its Course 2:52
13 Big Ben Bounce 3:18
14 London Lament 2:37
**

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Tubby HAYES - Mexican Green 1967

Tubby HAYES - Mexican Green 1967
2006 Issue. UCJU-9051
UK vinyl record LP - Fontana SFJL911

Jazz

Recorded in February and March 1967 and released in the following year when in the USA the tectonic plates of jazz had already started to shift, Mexican Green was a tour de force recording for Edward Brian 'Tubby' Hayes. Actually it was a remarkable album for anyone to have made. Tubby Hayes was at that time the premier tenor player in the UK as was signalled by the polls he regularly topped in the (now sadly defunct) weekly Melody Maker. He had also gained something of an international reputation having recorded with the likes of Clark Terry, Roland Kirk, James Moody, Benny Golson and Paul Gonsalves and even deputising for an indisposed Gonsalves on one of Duke Ellington's UK concerts.

Whilst Coltrane had introduced the world to A Love Supreme and Miles was and on the road to Filles de Kilimanjaro and In a Silent Way, Tubby Hayes produced Mexican Green. This album was very far ahead in the evolution of jazz for a number of reasons. Hayes had a reputation as a hard bopper and fast player particularly on tenor, in which context he not merely excelled but was undoubtedly one of the world's leading musicians. He also was a virtuoso on flute and vibes. Born in 1935, Hayes had been a player of unprecedented ability since his teens when he had begun leading his own bands and his precocity had famously endeared him to the already well- established Ronnie Scott. Mexican Green had been preceded by several other albums recorded for the Fontana label in the 1960s that signalled true greatness; the best of which were Tubbs Tours, a big band album of original material and vibrant arrangements and a follow-up album 100% Proof which was simply stunning because although only the title track was a Hayes composition, the big band arrangements of predominantly standards such as "A Night in Tunisia leapt out of the speakers in a colourful, inventive and torrential arrangement of sound. The third major Hayes album of the 1960s was Mexican Green.

On the face of it, as a quartet album, a much more modest proposal. But this was not the case. This album was a quantum leap for Hayes in many ways. All the seven titles on the album were self-penned by Hayes, something he had not achieved before. Also, the album was reaching forward, progressing and moving in a way he had not gone before. The title track, the last one on the second side, was a conscious effort to embrace the free jazz movement, but without relinquishing his modern jazz roots. Although much of it was improvised it was sandwiched between a carefully constructed layer of 'tune'. It never waded far out into the sea of free, but kept a close eye on the coastline.

Nevertheless it was effective and not least because the three other musicians on the album were by this stage in their careers, superlative practitioners of their craft. Tony Levin on drums, Ron Matthewson on bass and Mike Pyne piano were all more than merely fine musicians. Sadly, Pyne, like Hayes, is no longer alive, but his piano phrasing was almost Tyner-esque in its resourcefulness. Levin's drumming was obviously influenced by Elvin Jones but had its own unique sound that incorporated considerable use of cymbals in a more Tony Williams style. But Levin was certainly no copyist and his style remains today as imaginative and powerful as ever. If more proof were ever need of this, listen to his playing on a slightly later album entitled cryptically, TCB, recorded in 1970 by one of Hayes' friends, the great tenorist Alan Skidmore. Ron Matthewson has always been a skilled bassist of great refinement characterised by rich sonority and inventiveness. He was later snatched up by the late Ronnie Scott and employed in many of his groups.
By Roger Farbey.
**
Poor old Tubbs. One of the greatest Jazz instrumentalists of all time. A master capable of almost inhuman levels of speed and dexterity. Able to stand up to pretty much any tenor sax player who ever lived and cut them to ribbons. So incredible was his technique that he was actually criticised in certain corners for being too good. His unfortunate fate was that his genius was trapped in the body of a fat, white, English bloke.

Too in thrall to the American masters to carve out his own sound (as those British jazzers who came in his wake would do), and too far removed from the American masters to be accepted along side them on the world stage (never mind the fact that the first stop most of them made when they came to Britain was to go see Tubbs). Outside Britain he's been left as little more than a footnote.

Mexican Green was the only all originals set that Tubbs made, and to my mind its a stone cold masterpiece. Compositionally its his best showing by far, but this is all about the performances. Pared back to a stellar quartet and sticking to tenor and flute (he often played vibes as well), Hayes plays like he's marking his place in the history books, like this is the studio performance he's going to be remembered for. Its not all pyrotechnics though. Anyone believing the oft quoted view that Tubbs was all technique and no feeling should head straight for the ballads 'Trenton Place' and 'A Dedication to Joy', both beautifully conceived and performed.

For all the talk of him being a dyed-in-the-wool bopper, Mexican Green also sees Tubbs at his most forward thinking. The evolution in his style from previous recordings is unmistakable, and the title track in particular sees him taking on the advances of the avant-garde and moulding them to his own style. Really, I can't say enough about how great this record is. If there's one album that deserves to be heard beyond the British Jazz ghetto, this is surely it.
**
Bass - Ron Mathewson
Drums - Tony Levin (2)
Piano - Mike Pyne
Saxophone - Tubby Hayes
**
A1. Dear Johnny B 7:15 
A2. Off The Wagon 8:35 
A3. Trenton Place 5:21 
A4. The Second City Steamer 5:29 
B1. Blues In Orbit 3:27 
B2. A Dedication To Joy 7:10 
B3. Mexican Green 13:42
**

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Tubby HAYES & Ronnie SCOTT - The Couriers of Jazz! 1958

Tubby Hayes & Ronnie Scott - The Couriers of Jazz! 1958

Jazz

Recorded for the US Carlton label in November 1958 this was the first release for the Jazz Couriers in America and their third album. For some reason they were re-titled as the 'Couriers of Jazz' for this release rather than the usual 'Jazz Couriers'.
The Couriers lasted until August 1959 and broke up after a concert in Cork, Eire claiming staleness and a need for change. The musicians went their various ways and formed other equally successful groups. This fine album finds them at the top of their form.
**
There were also new instrumental and bandleading departures. In 1957, Tubby had taken up the vibes after Vic Feldman had bequeathed his instrument to him before his return to the United States. With typical precocity, less than six months later Tubby was recording on them and sounding for all the world like Milt Jackson (on Reunion from the Jazz Couriers first LP). The vibraphone increasingly became Tubby's ballad instrument of choice. My Funny Valentine and Time Was from the Couriers' book and Young and Foolish and Embers from the quartet's repertoire were telling examples of his early skill with the mallets. With the quintet Tubby extended his virtuosity to exquisitely chorded four part harmony renditions of songs such as But Beautiful and Spring Can Really Hang You Up the Most, but while many observers found Tubby to be far more limited (and often more lyrical) upon this second instrument, there are plenty of on-record examples of a far harder hitting approach to the vibes. The title track of Down In the Village contains a technically impeccable solo, with many of Hayes' familiar tenor phrases woven into its fabric. However, although Tubby could have easily secured his reputation on vibes alone, he eventually abandoned the instrument in 1966.
**
Tubby Hayes, Ronnie Scott- Tenor Sax
Terry Shannon- Piano
Jeff Clyne- Bass
Bill Eyden- Drums
**
01. Mirage 5:30
02. After Tea 7:55
03. Stop The World I Want To Get Off 3:49
04. In Salah 4:04
05. Star Eyes 4:11
06. The Monk 4:40
07. My Funny Valentine 6:21
08. Day In Day Out 6:04
**

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Tubby HAYES - Introducing Tubbs 1961

Tubby HAYES - Introducing Tubbs 1961
BA17019

Jazz

Sun January 30, born in London 1935. BBC's father Revuyuokesutora
Violinist. They learned the piano and violin from a young age
Hoop, 13, met at the age of Tena saxophone, Kenny 1951
Baker made his professional debut in the band. In 1955, an octet of self -
But that was to become, in 1957 and was Ronnie Scott's "Ja
Size Kuriazu "formed the Modern Jazz Buritesshu.
There will be central. However, the dissolution in 1959, after Germany 1961
Travel first. Zoot Sims played with or after the "Half Note" "page
Yazuwakushoppu "such as U.S. 65 and appeared several times during the year
Do the tour. Meanwhile, in London and formed a big band of self -
Also appeared in the TV, and then live activity for heart disease is decreased,
Left a number of albums."Introducing Tubbs" is one of them.
Died 1973 in London June 8, Sun.

I It has become increasingly popular the last few years of Tubby Hayes.
Secret of its popularity, the wonderful taste and skill as a player
Not only is shown in the hands of hearing instruments easy to understand the nature of the tenor
I think it's magic can be.
How to describe and Bappa barefoot, Tubby Hayes is no-frills
Makes you feel they are a pure joy of jazz.
It is, "when the barefoot feeling of liberation" is similar. Shell Necklace taste
No bluff, can provide a Straight Ahead Jazz.
**
Bass- Jeff Clyne
Clarinet, Clarinet [Bass]- Al Newman (2) (tracks: A3, B3) , Bob Burns (3) (tracks: A3, B3)
Clarinet, Flute- Bill Skeets (tracks: A3, B3)
Drums- Bill Eyden
Flute, Alto Flute- Johnny Scott (tracks: A3, B3)
Guitar- Dave Goldberg (tracks: A3, B3)
Oboe- Harry Meyers (tracks: A3, B3)
Piano- Terry Shannon
Piccolo Flute- Johnny Scott (tracks: A2, A4, B1) 
Trombone- Don Lusher (tracks: A2, A4, B1) , Jimmy Wilson (tracks: A2, A4, B1) , Keith Christie (tracks: A2, A4, B1) , Ray Pembru (tracks: A2, A4, B1)
Trumpet- Bobby Pratt (tracks: A2, A4, B1) , Eddie Blair (tracks: A2, A4, B1) , Jimmy Deuchar (tracks: A2, A4, B1) , Stan Roderick (tracks: A2, A4, B1)
Tuba- Alfie Reece* (tracks: A2, A4, B1)
Tenor Saxophone, Vibraphone- Tubby Hayes
**
A1. The Late One 3:49 
A2. Love Walked In 2:58 
A3. S'posin' 3:52 
A4. Tubbsville 4:03 
A5. R. T. H. 5:27 
B1. Cherokee 3:32 
B2. Falling In Love With Love 6:56 
B3. The Folks Who Love On The Hill 4:09 
B4. Wonderful! Wonderful! 8:13 
**

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Tubby HAYES - Return Visit 1962

Tubby HAYES - Return Visit 1962
STL 5195
Recorded in New York, June 23, 1962

Jazz

A Saturday morning in June 1962 and Tubby Hayes arrives at the recording studio on West 48th Street in New York City. A session has been slated for later that day with a pick-up group. None of the group has been aware of the date until the night before. One by one they wander in. All have been playing spots in various clubs until the early hours. Introductions are made. One member wonders who Tubby Hayes is, asks if he's a rock `n' roll singer. This is Jimmy Gloomy, not his real name, as he probably shouldn't be there at all - contractual reasons. Memories of Louis Armstrong: "It wasn't me, sir. I won't do it again". Midday arrives and producer Quincy Jones suggests maybe they get started. But what to play? They don't have a play list, have never rehearsed. Apart from pianist Walter Bishop Jnr, Tubbs has never met any of them. Quincy suggests they warm up with a blues, and they choose `Stitt's Tune`, the theme of Tubb's old band The Jazz Couriers - Tubbs and Gloomy on tenor sax, Roland Kirk providing counter melody on manzello and stritch, his customary hybrid horns. Next it's a minor blues - a Kirk original `I See With My Third "I"', then a ballad medley, including `Alone Together', one of Tubbs' favourites. Next Tubbs switches to vibes for `Afternoon In Paris', with solos from Kirk and Gloomy on tenors and Bishop on piano, and an unrehearsed coda from one-man brass section Kirk on tenor, manzello and stritch. They round off the session with another Kirk original `Lady "E"', with Tubbs still on vibes and Kirk on flute. And then they're through. Just time for bassist and drummer Sam Jones and Louis Hayes to get to Birdland and Kirk to the Five Spot for their first sets, and for Tubbs to return to the UK. In the space of just a few short hours they've recorded an exciting and memorable jazz album. That's how it was and them were the days.
By David Baxter.
**
Bass- Sam Jones
Drums- Louis Hayes
Piano- Walter Bishop, Jr.
Sax [Tenor, Manzello], Flute [Standard, Nose Flute]- Roland Kirk
Sax [Tenor], Flute- Jimmy Gloomy
Sax [Tenor], Vibraphone- Tubby Hayes
**
A1. Afternoon In Paris 5:46 
A2. I See My Third "I" 9:27
A3. Lady "E" 3:15 
B1. Stitt's Tune 9:51 
B2. Medley: If I Had You; Alone Together; For Heaven's Sake 7:24
**

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Tubby HAYES and Others All The Winners 1958

 

Tubby HAYES and Others All The Winners 1958
NJT 518

Jazz

There wasn't really a saxophone player to touch him. But he was difficult to work with. The way he would stop the band on stage and say "What's the matter? Can't you get this effing tune off the floor?" He had a go at me a couple of times - but you learn...
By Gordon Beck.
**
Born in 1935 Tubby Hayes was playing professionally at the age of fifteen, four years after he started playing the saxophone. A virtuoso musician he eventually played tenor, soprano, alto and baritone saxes, vibraphone, piano, flute and percussion as well as becoming a fine composer and arranger.
He started professionally in 1951 with Kenny Baker' Sextet and then worked in the big bands of Ambrose, Vic Lewis and Jack Parnell. His first major feature on record is a live concert recording (Hep) made with the Vic Lewis Orchestra in 1954, a day before his nineteenth birthday. The record contains a remarkable six minute quartet performance featuring Tubby throughout. He formed his own eight piece group in 1954 and toured with the group 1955 to 1956 and although a musical success it could not pay its way. The band recorded for the independent Tempo label during this time reveal a confident lively band playing many jazz themes of the day such as Peace Pipe, Opus De Funk, Jordu, Straight Life, Room 608 and Man Ray

Through the mid to late 1950s Tubby recorded a valuable series of albums for Tempo with Jimmy Deuchar, Dizzy Reece, and Victor Feldman's small groups and big band. These albums, all re-issued in the early 2000s, are a valuable record of the British modern jazz of that time. Tubby had just started to write and arrange and, in 1957 said of Jimmy Deuchar: Jimmy was the one who really made me start taking music seriously. I'd been on the road with big bands from 1952-54 and didn't worry much about anything, except having a ball! Then that Christmas came the group at the old Flamingo with Jimmy and Terry Shannon, Pete Blannin and Bill Eyden. Jimmy was so good that I had to try. Jimmy was a great help when I started to write too...

He went on to form the "Jazz Couriers" with Ronnie Scott, probably the most successful of British modern jazz groups. The Jazz Couriers were a quintet built upon the now classic format of two tenor saxophones and a rhythm section, and also upon the new wave of hard bop emerging from the United States. In 1957 Tubby had taken up the vibes after Vic Feldman had bequeathed his instrument to him before his return to the United States. Less than six months later Tubby was recording on them and sounding for all the world like Milt Jackson (on Reunion from the Jazz Couriers first LP). Then, in 1959 he took up the flute, and was playing the instrument on a gig within days. He also played baritone sax, his baritone work was well showcased on Jimmy Deuchar's Pal Jimmy CD.
Tubby used the Couriers to develop his composing and arranging ambitions. It says a lot for Hayes' abilities as a tunesmith that his arrangements for the Couriers of standards such as Cheek to Cheek, although the most popular items in the band's book, never overshadow his own compositions. The Couriers existed from 1957 to 1959 and would probably have continued for longer, but Scott and Hayes both wanted to do other things and the band folded.

Following the break-up of The Couriers Hayes reverted to the quartet format and the albums Tubby's Groove, Tubbs and Palladium Jazz Date, reveal that his talents had matured into a style that cleverley brought together the best of the musicians he admired such as Stan Getz, Sonny Stitt, Hank Mobley, Johnny Griffin and Sonny Rollins.

Hayes was at his peak in the early 1960s, and it was during this time that he enjoyed some of his greatest triumphs; in 1961 he became the first visiting English jazz soloist to play a residency at the 'Half Note' club in New York attracting audiences that included Miles Davis. He also visited Boston and Los Angeles as well as recording in America with trumpeter Clark Terry. In London he led his own big band for which he did most of the writing, and had his own TV series 1961 to 1962 and 1963.
He consistently won musical awards often in several categories including Best Tenor Saxophonist, Best Small Band and Jazzman of the Year. By the early 1960s he was the best known jazz musician that England had produced and through the 1960s he appeared in films, played the major festivals and had his own recording sessions in New York. Tubby established his own big band on a semi-regular basis from 1961. Away from the small band format of hard bop, his big band featured a superb swinging sound. The albums made by the big band were Tubbs from 1961, Tubbs Tours, from 1964 and then in 1966 what was probably his finest big band recording, 100% Proof an album of bebop themes.

From 1962 to 1964 Tubby Hayes' led a group featuring the Scots trumpeter Jimmy Deuchar and the live albums the group recorded at Ronnie Scott's club in 1962, Late Spot at Scott's and Down in the Village are from a time when Hayes reigned supreme. Other later releases such as Tribute to Tubbs and Night and Day, from similar live sessions are available. With the quintet Tubby extended his virtuosity on the vibes to exquisitely chorded four part harmony renditions of songs such as But Beautiful, and although Tubby could have easily have based his reputation on vibes alone, he abandoned the instrument in 1966.

Late in 1965 Tubby's health began to deteriorate and he collapsed through sheer exhaustion brought on by overwork. There were further health problems in the following year. Tubby had always drunk heavily but he was now dependent on narcotic drugs. He had become frustrated with his colleagues and the music he was playing and in the summer of 1966 he formed a new quartet, using young jazzmen more in tune with the new ideas coming into vogue - pianist Mike Pyne, bassist Ron Matthewson and drummer Tony Levin. The band worked into 1967 (live sessions can be heard on the CDs For Members Only and Tete a Tete) and then came what many regard as Tubby Hayes' finest album, Mexican Green. It was released in early 1968 to critical acclaim everywhere, but it came at a time when Hayes' personal life was in tatters. Already a sick man, he ignored warnings to slow down and ravaged by drugs and drink, and disgusted with his playing, he turned reclusive and spoke to no one for nearly three months. He was sorting himself out when he was arrested and charged with narcotics offences.

In 1969 he formed a new quartet with guitarist Louis Stewart and drummer Spike Wells. He had a new interest in free jazz and rock music and dabbled with the format working from time to time with Georgie Fame as well as his now settled quartet format including the Mike Pyne and Ron Matthewson rhythm team.An excellent Live 1969 CD, captures one of Tubby's final gigs with this quartet.

But by early 1970 health problems resurfaced when doctors discovered he had a faulty heart valve. He underwent an operation a year later and was out of action for the whole of 1971. When Tubby made his comeback in early 1972, the jazz scene had changed. The avant-garde had wreaked havoc and jazz rock had ravaged the music. Tubby's rejected the changes and his reaction was to go out and do straight-ahead gigs with his reformed quartet, playing much the same repertoire as he had done a decade earlier. He began his comeback with an overseas tour, making a successful trip to Scandinavia in February 1972. This tour is commemorated on the Storyville CD Quartet In Scandinavia.

Although now in poor health he worked on until another collapse before what transpired to be his final public appearance in Brighton in May 1973. Doctors confirmed that the replacement heart valve was failing and that a second operation was necessary. His death from complications undergoing surgery on June 8th, 1973, aged just thirty- eight. was a major loss to the jazz world, not just in the UK.
Tubby Hayes made an incredible number of recordings and most of his important work is currently available on CD. he recorded many programmes for the BBC and a few titles have been issued on the IAJRC (International Association of Jazz Record Collectors) CD - Tubby Hayes: England's Late Jazz Great.
**
Cleo Laine- Vocals
Kenny Baker- Trumpet [B1],
Ian Hamer- Trumpet [B3]
George Chisholm- Trombone [B1],
Tony Coe, Bruce Turner- Alto Sax [B1],
Tubby Hayes- Tenor Saxophone) [A1],
Ronnie Ross- Baritone Sax[A1],
Johnny Scott- Flute [B3],
Vic Ash- Clarinet [B3],
Bill le Sage- Vibraphone) [A1],
Lennie Felix- Piano [A2],
Max Harris- Piano [A3],
Dill Jones- Piano [B1],
Dave Lee- Piano [B2],
Alan Branscombe- Piano [B3],
Dave Goldberg- Guitar [A1],
Johnny Hawksworth- Bass [A1]
Sammy Stokes- Bass [A3],
Lennie Bush- Bass [B1],
Spike Heatley- Bass [B3],
Allan Ganley)- Drums [A1],
Phil Seamen- Drums [A3],
Eddie Taylor- Drums [B1],
Kenny Clare- Drums [B2],
Dave Pearson- Drums [B3],
Leaders- Tubby Hayes, Lennie Felix, The Polka Dots,
Kenny Baker, Cleo Laine, Vic Ash
**
A1. Hark Dog (Ken Moule) (5:09)
A2. Scene '59 Act 2 (Lennie Felix) (5:08)
A3. Monday Date (Earl Hines) (2:06)
B1. Poll Winners (John Dankworth) (5:41)
B2. Sugar (Edna AlexanderSidney MitchellMaceo Pinkard) (3:11)
B3. Just for the Boys (Johnny Scott) (3:00)
**

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Tubby HAYES with Clark TERRY - New York Sessions 1961

Tubby HAYES with Clark TERRY - New York Sessions 1961
1990 Issue.VCK-45446

Jazz

Tubby Hayes was a superior tenor saxophonist from England who played in the tradition of Zoot Sims and Al Cohn, with just a dash of Johnny Griffin and early John Coltrane. This CD finds Tubby holding his own with a top-notch swinging rhythm section (pianist Horace Parlan, bassist George Duvivier, and Dave Bailey) along with guests Clark Terry (on four of the ten selections) and vibraphonist Eddie Costa (on three songs). Whether it be an up-tempo rendition of "Airegin" or a tender "You're My Everything," Tubby Hayes shows that he is an underrated legend. The original six selections are joined by four equally rewarding unreleased performances.
By Scott Yanow. AMG.
**
Bass- George Duvivier
Drums- Dave Bailey
Piano- Horace Parlan
Tenor Sax- Tubby Hayes
Trumpet- Clark Terry
Vibraphone- Eddie Costa
**
01. You For Me (4:38)
02. A Pint Of Bitter (7:00)
03. Airegin (8:53)
04. Opus Ocean (7:31)
05. Soon (7:33)
06. Doxy (9:11)
07. Soho Soul (8:02)
08. The Simple Waltz (8:57)
09. Half A Sawbuck (7:13)
10. You're My Everything (5:06)
**
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