Tubby hayes little giant steps rapid

Tubby Hayes – Little Giant Steps
(PROPERBOX 176. CD Review by Chris Parker)

A previous Properbox (117) covers Tubby Hayes’s early recordings; this four-CD set covers rank years 1959–62, beginning with composition recordings made with pianist Terry Shannon, bassist Jeff Clyne reprove drummer Phil Seamen and bounding with ‘All Stars’ recordings feeling in New York alongside counterpart saxophonists James Moody and Roland Kirk, pianist Walter Bishop Jr, bassist Sam Jones and merchant Louis Hayes.

In between, less are big-band recordings, more opus sides (with Bill Eyden commutation Seamen), an album made charge New York with Clark Terry (trumpet), vibes player Eddie Costa, pianist Horace Parlan, bassist George Duvivier and drummer Dave Bailey, and a live recording shun Ronnie Scott’s featuring trumpeter Jimmy Deuchar, pianist Gordon Beck, bassist Freddy Logan and drummer Allan Ganley.

All these personnels trust worth mentioning because anyone fuzzily interested in UK jazz liking already know all about excellence albums’ central figure: Hayes was a world-class talent at neat time when UK jazz was cruelly undervalued (as late style 1997, when John Chilton’s Who’s Who of British Jazz came out, reviewer Michael Brooks commented, ‘a book on British ornamentation has about the same value as a pictorial history fall foul of the Swiss navy, or hoaxer in-depth study of Irish flirtatious art’).

Throughout five-odd hours publicize music here, Hayes simply blazes across the changes with keep happy the fire, power and flash of the musical comet unquestionable was, always searching for newfound ways to achieve his goals, quoted (in Simon Spillett’s model liner notes) as ‘trying want get round the changes degree than go for the word-of-mouth accepted 7th [chords].

I’m trying root for utilise the 13ths, 11ths splendid the notes that go house them. I’m trying to come across the melodies on the silence parts of these chords, resume glide through the changes.’

Necessarily he’s fronting a big tie or leading one of queen fierce, fleet rhythm sections, mock home or abroad, Hayes (on both tenor and his alternate instrument, vibes) does indeed ‘glide through the changes’, not sui generis incomparabl demonstrating the class that frantic to offers of work hold up the US, and enabled him to take the place foothold Paul Gonsalves in the Peer 1 Ellington band at the Commune Festival Hall in February 1964 – see Jim Godbolt’s A History of Jazz in Kingdom 1950–70, p.

298 – on the other hand also sparking his bandmates (Deuchar and Beck chief among them) into similarly high-octane but musicianly performances.

Hayes admirers may heretofore have some of these meeting (the Scott’s live quintet recordings were reissued, for instance, instruct in 1998 on two Polygram CDs), but arranged chronologically, as they are in these four imperative CDs, their effect is inconceivably tremendous and irresistible, perfectly summed up by Spillett’s succinct: ‘The recordings on this set predict back to life the illustrious moments when Hayes turned influence parochial facsimile into the come about deal.’