Tubby Hayes, Ronnie Scott (ts) Terry Shannon (p) Jeff Clyne (b) Bill Eyden (d) recorded November 1958
Billed as “England’s Greatest Combo”. You mean those limeys have learned to play the saxophone? Jazz?
“England’s Greatest” – Greatest out of how many? How great is that? asks a New York dominated jazz scene.
This “Tubby” Hayes. Tubby eh? We have more amply-proportioned players than that. Ever heard of “Cannonball” Adderley? We already got fat musicians
So, they are “Couriers of Jazz“, like pizza, they deliver jazz direct to your doorstep? Never work.
The Musicians Union traded Tubby with Zoot Sims, so I have a live Zoot recording at Ronnie Scott’s London club, of all ironies (subject for a future post)
This is no “Union Jack flag-waving” exercise. Probably 97% of my music collection comes from other countries. Statistically, that is about right for a proportionate sample of the world’s recorded music, though China is probably under-represented. For now. Tubby is on my shelves because he deserves to be (though I admit the shelf is bowing a bit under the weight)
Carlton LP12 116 US release, of London LTZ-L 15188 (looking remarkably similar but in black and white).
The first Jazz Couriers record to have its own release in the US.
Carlton was a New York record label founded in 1957 by former RCA A&R chief Joe Carlton, however better known for its releases of releases of Country & Western Kenny Rodgers, various heart-throb young crooners, and rockabilly songs like “Shake Baby Shake”. The Jazz Couriers record looks uncomfortably out-of-place in their roster of fifties lesser American pop artists, and can’t have done much to establish The Jazz Couriers credibility in American Jazz circles. Brit-Bop?
Amazon’s single customer review for this CD adds the comment it is “well recorded”. Absolutely. Deep Groove, good weighty vinyl as befits 1958, loud and bright with full dynamic range. A lovely vinyl pressing in pleasing condition, which itself is rare.
Liner notes: in LJC Supa-Sharp Text™
Both UK and US vinyl are considered rare. Ouch, it was expensive! But then all Brian Edward “Tubby” Hayes originals are, this one especially as it is not actually a British pressing, but an (gasp of horror) American pressing. After buying lots of US Prestige releases on British Esquire, it is full circle to be buying a US release of a British artist.
I had seen this sitting in a London shop for some time but I found the price off-putting and the label relatively unknown to me at least, which it perhaps was why it was still sitting there. “Carlton” sounded like one of those cheap British budget label that always give themselves away with faux-posh West-End names, like Mayfair, Dorchester, Ritz, Carlton, Embassy, always the same posh schtick. However Tubby’s biographer Simon Spillett recommended it to me as part of a Tubbster Core Collection, and this man knows. So out with the plastic, and consoled myself with the thought it was a lot cheaper than the copy of “Down in the Village” currently asking £300 in another London shop.
What a relief when on the turntable it yielded up a heavenly solid rich sound, and mono. “Well recorded” as the man said. Well pressed too, and great music. Tubbs and Scott dual tenor quintet, its great fun playing “Spot the Tubster” – Hayes more aggressive rollercoaster attack compared with Ronnie Scott’s excellent if slightly more restrained possibly even more mature voice. Good choice, Simon, no, great choice.
UK copy just fetched £326.
£326 ? – completely off the radar.There is something about collectors of British Jazz. However, they seem to think it’s worth it, and who is to say otherwise?