Few English saxophonists could out-swing Tubby Hayes. In fact, many American jazz reed players of the '50s and '60s struggled to keep up. Listening to Hayes' recordings today without knowing who was playing would likely leave you guessing for hours. One of his most exciting albums (and there are many) is Tubby the Tenor, which was recorded on October 4th and 5th in 1961 in New York for Epic, Columbia's jazz and pop subsidiary.
Hayes was accompanied on the dates by a hard-charging trio—the eloquent blues pianist Horace Parlan, bassist George Duvivier and drummer Dave Bailey. And if those guys weren't enough, Hayes was joined on several tracks by trumpeter and flugelhornist Clark Terry and on others by vibist Eddie Costa.
What's remarkable here is how at ease Hayes sounded and how fast and furious the ideas came to him. According to the album's 1961 liner notes by Stanley Dance, Hayes after the session took his horn to the Half Note to blow with Al Cohn and Zoot Sims. Dance quotes Cohn as saying: "He came down and made us feel sluggish."
Hayes knew this session was a big deal. Put differently, Hayes was well aware that he was being teamed with some seriously tough talent, and anything short of a mind-blowing effort on his first New York record date would be viewed as a flop.
So days before the two sessions, Hayes headed to Columbia's studios and shut himself in a room for four hours at a time with just a piano, running through all of the songs' chord changes again and again. When it was time to record, Hayes was so familiar with the material that he was creatively free to whip out one idea after the next without worrying about song recall.
The first session began at midnight on October 4. Three hours later, a five flawless tracks were captured—enough to complete an album. Hayes and the trio recorded again the next night, and the same thing happened—track after track of perfect music. The musicians weren't alone in the studio. Word had spread about Tubby, prompting musicians like alto saxophonist Gene Quill and arranger-pianist Bill Potts to stop by.
According to the liner notes, arranger Manny Albam occupied a front-row audience seat during both sessions. Interestingly, Costa's appearance occurred because he happened to be playing at Birdland at the time, which was located a few blocks away. He dropped by during his intermission to record.
Costa and Terry [pictured] are superb additions to this date, but the real maverick surprise is Parlan. The pianist was at his peak here, and I can't recall hearing him play more robustly on other any other session, from both an accompanist perspective and as a soloist.
Among the standout tracks are the swinger You for Me, the hardbop Half a Sawbuck and Soho Soul, which has a John Coltrane feel. Dig Eddie Costa's solo on Sonny Rollins' Airegin and Parlan's red-hot solos on Soon and Opus Ocean. Terry, of course, is superb on all of his tracks.
Hayes not only played tenor sax but he also could play the flute and vibes superbly. Sadly, Hayes died in June 1973 during heart surgery in London. He was just 38 years old.
JazzWax tracks:Tubby the Tenor featured only You For Me, A Pint Of Bitter, Airegin, Opus Ocean, Soon and Doxie. Tubby Hayes: New York Sessions, which was released in the CD era by Columbia, united all of the tracks from both October sessions, including Soho Soul, Opus Ocean, Half a Sawbuck, You're My Everything and The Simple Waltz. Fontana also issued the LP in the Netherlands as Tubbs in New York.
Unfortunately, this CD appears to be out of print and going for around $35 on CD—though it is available at some download sites. Hopefully Sony will reach into its Columbia vaults and reissue.
JazzWax clip:Here's Tubby with Paul Gonsalves on Tupa, recorded in 1965 in London with British sidemen. Gonsalves solos first...
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Wow, Paul and Tubby make a great team. Another fine combination was Tubby and Ronnie Scott ("The Jazz Courriers"). Tupa sounds like one of Tubby's tunes.
Great to see you celebrating Tubby, Marc! I saw him many times in the 1960s and his NY sessions are my favorites of his records. His tradition in British jazz is now being carried on by tenorist Simon Spillett, whose gigs always feature prominently in my diary.
A fine 4 cd box "Tubby Hayes: The Little Giant" with a 44 page booklet is still available at propermusic.com with tracks recorded in the 50s. Tubby plays here with bands led by Vic Lewis, Jack Parnell, Jimmy Deuchar, Dizzy Reece, Victor Feldman and Ronnie Scott. Tubby also plays here with his own combo's: "Jordu", "Sophisticated Lady", "Opus de Funk", "Message to the Messengers", "Night in Tunesia" and other gems.
Han Schulte
Netherlands
Glad to see Tubby out front on your site, Marc. Tubby kind of flew under the radar for me (much like alto saxophonist, Joe Harriott who lived in the U.K. most of his life, but I believe, was born in Jamaica) until just a few years ago. Tubbs was also in a not-so-wonderful movie in or around 1961 called "All Night Long" with some serious company - Sir John Dankworth, Charles Mingus, Dave Brubeck. Here's a link:
Tubby Hayes also led a wonderful big band and there's even a video or two floating around on youtube of Tubby with his big band from the Jazz 625 program series:
Glad to see a feature on Tubby Hayes. I have "The New York Sessions," and am glad you highlighted his rendition of "You For Me," which I've played for a number of saxophonist friends over the years in blindfold tests. It's one of the few recorded versions of the tune. The CD, however, does not seem to have been mastered very well and the sound is pretty harsh.
Although the feature was obviously about the albums, you might also have mentioned Tubby's appearance in the movie All Night Long, a British version of Othello with Patrick McGoohan as the Iago character and Betsy Blair as the Desdemona character. Tubby is featured, along with Charlie Mingus, Dave Brubeck and Johnny Dankworth. Well worth seeing, if you haven't heard of it.
I see that your Facebook link to this post says that "one of the only tenor saxophonists who could keep up with Al Cohn and Zoot Sims was Tubby Hayes."
If by "keep up with" you mean speed of execution, I don't think that was what Zoot or Al were about. If you had said that Hayes was "one of the only tenor saxophonists who could keep up with Johnny Griffin or Sal Nistico," I'd be with you.
Speaking of Hayes and Nistico, this dual interview with them is interesting and pertinent, because they talk about the downside of being regarded as guys who were expected to play fast and "hot":
Tubby Hayes also a multi instrumentalist and ran a very good big band. Unfortunately he was a user and that's what destroyed his health at a very young age,ever thus with British jazz musicians at that time.
Brian "Tubby" Hayes was a complete musician: soloist, composer and arranger. He was a first class improviser with astonishing technique on the tenor saxophone at any tempo and a soulful ballad interpreter. However, many familiar with his recordings are unaware that he was also an excellent vibraphone player as is witnessed by his work with fellow British tenor man Ronnie Scott on their 1958 recording "The Jazz Couriers" quintet session on Carlton. Another outstanding example of Hayes jazz chops on both instruments can be heard on his Fontana CD "Tubbs" which features his playing with a big band. Tubby's solo on Ray Noble's "Cherokee" is nothing less than brilliant and his technique flawless. Unlike some of today's harmonically sophisticated soloists imprinted with the stamp of John Coltrane Tubby could also swing hard !
Hayes had a musical vocabulary that included more adventurous material like Monk's "Rhythm-A-Ning" from his 1972 CD on Storyville, "Tubby Hayes Quartet In Scandinavia" recorded in Stockholm. His style had evolved since 1961's "Tubby The Tenor" having absorbed Rollins,Coltrane,Mobley,Griffin,Rouse and others while remaining true to himself.
His untimely death was a genuine loss to the jazz community but, his recorded legacy speaks for itself and will for years to come. Your feature hopefully will serve to introduce "Tubbs" to a new generation of listeners.
Last, but not least, a link to the Tubby Hayes Tribute website, with lots of cool info, including info on recent reissues, forthcoming recordings and there's a pretty detailed discography, too.
Thanks again, Marc. Anytime you write about/feature someone I've not listened to in a while, you not only send me back to my collection, but you also turn me into the "researching madwoman of the internet!"
So pleased to see you celebrating Hayes!!!!!!!! People should make sure to know the big band - probably the greatest non-American band in the music's history (because of the level of Hayes' inspiration and the way he made them play).
Also, his next U.S. recording, "Return Visit" is another all-star affair: he's teamed with Roland Kirk, James Moody himself and the marvellous rhythm of Walter Bishop Jnr., Sam Jones & Louis Hayes.
I love the story of him so looking forward to an engagement he had in Shelly's Manne-Hole in LA, and the opportunity to play with an American rhythm-section again: when he turned up for work he discovered the band was Victor Feldman, Malcolm Cecil and Colin Bailey!!!! (All English ex-pats, and all GREAT, btw).
He was also, definitely, one of the greatest flute-players who ever played. EVER. (Great evidence on YouTube, and of the big band).
Along with Georgie Fame (Clive Powell) and Harry and Harriet South, Tubby and Maggy Hayes were two of my parents' closest friends. Tubby's wife, Maggy was my nanny and taught me some of the old east end songs, like 'Hold Your Hand Out, You Naughty Boy!'. I was only a young child in the mid sixties, brought up on a diet of jazz, The Beatles and Motown. I can remember our families all mixing together, all of us kids looked after by whoever wasn't working shifts at BEA, having my fingers stretched across the piano keys while sitting on Georgie Fame's lap, or bashing Harry's drum kit. My love and appreciation for jazz comes from those early childhood memories. They were amazing people and I'll always remember them for their love and warmth.
I brought this cd back in the very early 90s, as a direct result of a discussion with
Freddie Logan who played bass with Tubbs back in the early 1960s. Back then, there were very few of his recording available but
it has always remained a gem of UK jazz.
It's ironic now with the huge amount of his
records currently available that this set is out of print, because it is magnificent
and should be in the home of any jazz fan.
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Marc Myers writes frequently on music and the arts for the Wall Street Journal. He is author of "Why Jazz Happened" (University of California Press). In 2012, JazzWax was named the Jazz Journalists Association's "Blog of the Year."
Wow, Paul and Tubby make a great team. Another fine combination was Tubby and Ronnie Scott ("The Jazz Courriers"). Tupa sounds like one of Tubby's tunes.
Posted by: David | March 10, 2011 at 02:45 AM
Great to see you celebrating Tubby, Marc! I saw him many times in the 1960s and his NY sessions are my favorites of his records. His tradition in British jazz is now being carried on by tenorist Simon Spillett, whose gigs always feature prominently in my diary.
Posted by: Bill Forbes | March 10, 2011 at 02:48 AM
A fine 4 cd box "Tubby Hayes: The Little Giant" with a 44 page booklet is still available at propermusic.com with tracks recorded in the 50s. Tubby plays here with bands led by Vic Lewis, Jack Parnell, Jimmy Deuchar, Dizzy Reece, Victor Feldman and Ronnie Scott. Tubby also plays here with his own combo's: "Jordu", "Sophisticated Lady", "Opus de Funk", "Message to the Messengers", "Night in Tunesia" and other gems.
Han Schulte
Netherlands
Posted by: Han Schulte | March 10, 2011 at 07:47 AM
Glad to see Tubby out front on your site, Marc. Tubby kind of flew under the radar for me (much like alto saxophonist, Joe Harriott who lived in the U.K. most of his life, but I believe, was born in Jamaica) until just a few years ago. Tubbs was also in a not-so-wonderful movie in or around 1961 called "All Night Long" with some serious company - Sir John Dankworth, Charles Mingus, Dave Brubeck. Here's a link:
http://www.thevideobeat.com/beatnik-hippie-drug-movies/all-night-long-1961.html
Tubby Hayes also led a wonderful big band and there's even a video or two floating around on youtube of Tubby with his big band from the Jazz 625 program series:
http://www.youtube.com/watch?v=jXTWRivFU3w
Marla
Posted by: Marla | March 10, 2011 at 10:08 AM
Glad to see a feature on Tubby Hayes. I have "The New York Sessions," and am glad you highlighted his rendition of "You For Me," which I've played for a number of saxophonist friends over the years in blindfold tests. It's one of the few recorded versions of the tune. The CD, however, does not seem to have been mastered very well and the sound is pretty harsh.
Although the feature was obviously about the albums, you might also have mentioned Tubby's appearance in the movie All Night Long, a British version of Othello with Patrick McGoohan as the Iago character and Betsy Blair as the Desdemona character. Tubby is featured, along with Charlie Mingus, Dave Brubeck and Johnny Dankworth. Well worth seeing, if you haven't heard of it.
Wonderful reading you, as always.
Posted by: Brett Gold | March 10, 2011 at 12:27 PM
I see that your Facebook link to this post says that "one of the only tenor saxophonists who could keep up with Al Cohn and Zoot Sims was Tubby Hayes."
If by "keep up with" you mean speed of execution, I don't think that was what Zoot or Al were about. If you had said that Hayes was "one of the only tenor saxophonists who could keep up with Johnny Griffin or Sal Nistico," I'd be with you.
Speaking of Hayes and Nistico, this dual interview with them is interesting and pertinent, because they talk about the downside of being regarded as guys who were expected to play fast and "hot":
http://www.jazzprofessional.com/Exchange/HayesNistico.htm
Posted by: Larry Kart | March 10, 2011 at 06:56 PM
Tubby Hayes also a multi instrumentalist and ran a very good big band. Unfortunately he was a user and that's what destroyed his health at a very young age,ever thus with British jazz musicians at that time.
Posted by: Phil | March 11, 2011 at 11:49 AM
Brian "Tubby" Hayes was a complete musician: soloist, composer and arranger. He was a first class improviser with astonishing technique on the tenor saxophone at any tempo and a soulful ballad interpreter. However, many familiar with his recordings are unaware that he was also an excellent vibraphone player as is witnessed by his work with fellow British tenor man Ronnie Scott on their 1958 recording "The Jazz Couriers" quintet session on Carlton. Another outstanding example of Hayes jazz chops on both instruments can be heard on his Fontana CD "Tubbs" which features his playing with a big band. Tubby's solo on Ray Noble's "Cherokee" is nothing less than brilliant and his technique flawless. Unlike some of today's harmonically sophisticated soloists imprinted with the stamp of John Coltrane Tubby could also swing hard !
Hayes had a musical vocabulary that included more adventurous material like Monk's "Rhythm-A-Ning" from his 1972 CD on Storyville, "Tubby Hayes Quartet In Scandinavia" recorded in Stockholm. His style had evolved since 1961's "Tubby The Tenor" having absorbed Rollins,Coltrane,Mobley,Griffin,Rouse and others while remaining true to himself.
His untimely death was a genuine loss to the jazz community but, his recorded legacy speaks for itself and will for years to come. Your feature hopefully will serve to introduce "Tubbs" to a new generation of listeners.
Posted by: MJS | March 11, 2011 at 12:14 PM
Also looking forward to the forthcoming Simon Spillett biography on Tubbs.
Posted by: Marla | March 11, 2011 at 08:29 PM
Last, but not least, a link to the Tubby Hayes Tribute website, with lots of cool info, including info on recent reissues, forthcoming recordings and there's a pretty detailed discography, too.
Thanks again, Marc. Anytime you write about/feature someone I've not listened to in a while, you not only send me back to my collection, but you also turn me into the "researching madwoman of the internet!"
- marla
Posted by: Marla | March 11, 2011 at 08:37 PM
So pleased to see you celebrating Hayes!!!!!!!! People should make sure to know the big band - probably the greatest non-American band in the music's history (because of the level of Hayes' inspiration and the way he made them play).
Also, his next U.S. recording, "Return Visit" is another all-star affair: he's teamed with Roland Kirk, James Moody himself and the marvellous rhythm of Walter Bishop Jnr., Sam Jones & Louis Hayes.
I love the story of him so looking forward to an engagement he had in Shelly's Manne-Hole in LA, and the opportunity to play with an American rhythm-section again: when he turned up for work he discovered the band was Victor Feldman, Malcolm Cecil and Colin Bailey!!!! (All English ex-pats, and all GREAT, btw).
He was also, definitely, one of the greatest flute-players who ever played. EVER. (Great evidence on YouTube, and of the big band).
Posted by: O'Sullivan, Red | March 12, 2011 at 03:05 AM
I forgot to post the link to the tribute site (Tubby Hayes):
http://tubbs1935.webs.com/
Posted by: Marla | March 13, 2011 at 09:57 PM
Along with Georgie Fame (Clive Powell) and Harry and Harriet South, Tubby and Maggy Hayes were two of my parents' closest friends. Tubby's wife, Maggy was my nanny and taught me some of the old east end songs, like 'Hold Your Hand Out, You Naughty Boy!'. I was only a young child in the mid sixties, brought up on a diet of jazz, The Beatles and Motown. I can remember our families all mixing together, all of us kids looked after by whoever wasn't working shifts at BEA, having my fingers stretched across the piano keys while sitting on Georgie Fame's lap, or bashing Harry's drum kit. My love and appreciation for jazz comes from those early childhood memories. They were amazing people and I'll always remember them for their love and warmth.
Posted by: Julian McSweeney | September 06, 2011 at 02:30 PM
I brought this cd back in the very early 90s, as a direct result of a discussion with
Freddie Logan who played bass with Tubbs back in the early 1960s. Back then, there were very few of his recording available but
it has always remained a gem of UK jazz.
It's ironic now with the huge amount of his
records currently available that this set is out of print, because it is magnificent
and should be in the home of any jazz fan.
Posted by: Rob J | April 15, 2012 at 05:45 AM