Tubby Hayes: The Message from Britain (1959) Jazzland


Selection 1: Love Walked In (I & G Gershwin)

First solo Tubby Hayes, second with the more abrasive tone, Ronnie Scott.

Selection 2: If This Isn’t Love (Harburg-Lane)


Tubby Hayes (ts, vib & fl), Ronnie Scott (ts), Terry Shannon (p), Kenny Napper (b) Phil Seamen (d)  recorded London June 23rd and July 3rd, 1959 engineer Michael Mailles..


British jazz, but nothing especially British in the song choices, all well-known standards. Tubby Hayes is at his most energetic here. Just when you think he can’t go any faster.. he overtakes himself on the inside. A decade his elder, Ronnie Scott gives him a run for his money, as the two dutifully deliver the standard opening statements of the melody and, without further ado, step on to the racetrack. Other titles include Tubby on Flute and vibraphone, and whilst versatility was generally considered “a good thing”, it’s the tenor where Tubby excels. Cockney garrulous someone once described him, and no worse for that.

That Cover:

LJC-top-hat-flag--fastshow14After the  Esquire I thought it can’t get any worse, then this comes along. It’s not even Swinging Sixties Britain, cool Britannia, it’s Charles Dickens Britain, morning coat and top hat, chimney sweeps dancing on rooftops, rampant pox, Jack the Ripper welcomes you to London as he draws his cloak around you. About as British as the queue for entry to the Tower of London. The design is by one Ken Deardoff, drawn by Chas Slackman. Ken takes the bullet.

Imagine a great cover from LJC’s new audiophile venture Pressing Matters. Each beautifully packaged title contains four hyper-audiophile 78rpm disks pressed on 250gm virgin vinyl, accompanied by original photographs, lovingly restored and converted into lifesize three-dimensional holographic projections.  Limited to only one hundred numbered copies, be the envy of all your friends, order today.


OK that cover is rubbish too, five minutes in Photoshop, but you have to admit it is more, more…colourful… At a pinch you can pick up the Eighties Jasmine reissue – with the Tempo cover – for not many pesos, but it’s not the original and you will always know it. But the original Tempo release, which has altogether more class, will set you back a tidy sum, though it is cover you would want to own

Jazz couriers tempo 260

Vinyl:  JLP 34 US Jazzland release The Jazz Couriers – The Message From Britain,  released in the UK as  Tempo TAP 26  The Jazz Couriers – The Last Word

US Jazzland pressings tend to be “variable in quality” but this sample seems excellent. Not quite up to the standard of British Decca-pressed Tempo, but better than the much later Jasmine reissue and other Jazzlands in my collection.

It is said the original tapes of Tony Hall’s Tempo Records were lost during a Decca reorganisation in the Seventies, which may in part account for the extraordinary price Tempo’s command today. This US Jazzland , dating from the early Sixties, will have been mastered from a fresh copy tape of the original recording, before it became lost. This offers the intriguing prospect that what you listen to here on the US Jazzland pressing is sonically  closer to the UK original recording than either later  reissues or CD.

The Message From Britain is “Listen Up, Dudes, Tubbs Speaks”



Collectors Corner

Source: Ebay

Sellers Description:

Condition Sleeve: E (Really nice, little light ringwear, number written on top back of sleeve. Condition Record: E+ (Small non-playing surface mark Side 2, Track 1. Other than this superb) Have played this all the way through. Superb Audio Quality! Original US Mono issue LP pressed on thick heavy gauge high quality vinyl

The seller was no doubt equally embarrassed by the cover, to the extent that the picture they used on Ebay was merely the label, omitting the cover altogether, say no more.


Envy rating 1

They say you can not judge a book by its cover, even less can you judge an LP by its cover, but this cover is completely undermined the market value of the vinyl. Relatively easy find on-line, no one will envy you with that cover.


Nice great-sounding copy, a pleasure to hear Tubbs so nicely recorded. I’m pleased, especially with the price. For a fraction of the cost of the Tempo, if you can live with Mr Micawber on the cover.


May possibly turn a few heads at the East London DJ Jazz Collective, but elsewhere not enough people know much about Tubbs or British Jazz, which is a pity. Edward Brian “Tubby” Hayes stands comparison with the best of his American counterparts.

UPDATE June 17, 2013

Ebay seller claim of “original” status open to question.

Cover is original as probably are the paper labels, though not the pressing, which would normally be Deep Groove.  Could be a reissue for Orpheum Productions, who bought the Riverside catalogue around 1966. Undetermined whether the pressing was by a legacy original stamper or remastered from tape – you would need to own a DG original to compare the matrix side by side.

On close examination, in addition to the faint handwritten matrix, the run out does contain a machine-stamp code letters “RI” on both sides,. “Riverside”? A contract pressing? Could it still be “original”?

Oh that mischievous word “original”

UPDATE 2 June 19th 2013

Three or four Popsike entries mention or show Deep Groove

Tubby Hates Message DG

One doesn’t

\tubby No DG

The odds favour DG as the original.



10 thoughts on “Tubby Hayes: The Message from Britain (1959) Jazzland

  1. I managed to snag a deep groove copy of this LP from an ebay seller one day following your original post for the low, low price of $8. Crossed my fingers it was clean and the LP is in very nice shape – VG+ (strong) to EX. I just got lucky no one else bid!

    I had not visited your site in several days and was delighted to have won an LP you featured! I don’t always hit a home run on my ebay wins but this one is up there! – Troy


  2. No original first pressing here, beacuse of no DG. There are some later non-DG pressings wich are no Orpheum Production pressings. Don’t know if it still was manufactured by Keepnews.
    Otherwise nice Score!


    • I hear what you say about the absence of DG. I have other Jazzlands which are DG, true. I have several Orpheums and they all say Orpheum, on the turquoise label. I can’t imagine this was a title that would go to reissue but maybe Orpheum did the old trick of using up old stock labels and covers. Uncharted waters. Or US Riverside could have farmed out the pressing, hence different die impression to DG.

      I demand a recount! (If anyone has this title with a DG speak now please)

      My gut instinct is that the non-DG are probably early Orpheum reissues (circa 1966) using old stock Riverside/Jazzland labels and covers, as Liberty did with Blue Note.


      • I didn’t want to disqualify the record. I just found Jazzland to be one of the easier labels to collect. I go with you in thinking, that Orpheum used old labels, even because this was not a very sought after record in the US, I guess.
        I don’t have it myself, but a quick look at popside revealed, that DG pressing existed. I don’t know, when Jazzland started to issue records without DG, I just remember Mangiones Recuerdo, which is a non-DG-pressing.
        So maybe, the Jazz Couriers were heavily sought after and this is a early Jazzland/Riverside repressing?!


      • My copy has a DG on both sides. Otherwise, appears identical (even down to the square “approved” stamp on the reverse upper right). Matrix info is RI (which appears scratched out) JLP-12-34-A AB / JLP-34-B AB.


  3. Lordy, no wonder Americans are so dismissive of British jazz, if I saw that cover coming towards me I’d run for the hills too, scoffing all the way!


  4. I quite like the cover it’s a million times better than that Esquire which didn’t even reach a will this do level.

    Mind you I do like some Esquire covers my Red Garland “Soul Junction” pic of some train tracks is very fetching & must have taken the art director almost 10 minutes before knocking off for a long lunch break.


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