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UNIVERSTIY OF NORTHERN COLORA DO

Greeley, Colorado

The Graduate School

BLUE HAYES: AN ANALYSIS OF THE PERFORMANCE

STYLE OF JAZZ SAXOPHONIST

TUBBY HAYES

A D issertation Subm itted in Partial Fulfillment

Of the Requirements for the Degree of

Doctor of Arts

Edward Roy Orgill

College of Performing and Visual Arts

School of Music

May, 2008



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© 2 0 0 8

EDWARD ROY O RGILL

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(2008)



THIS DISSERTATION WAS SPONSORED

BY

&L-M~^ OLyi^___

Andrew Dahlke , DMA

Research Advisor

Edward Roy Orgi l l

DISSERTA TION CO MM ITTE E . . .

Advisory Professor

Advisory Professor

Dana Landry MM

Faculty Representative fl**.^ U J ? ^ ^

I Norman Pee£j^

orman Pee 6 ^ PhD

ASSISTANT VICE PRESIDENT FOR RESEARCH & EXTENDED STUDIES

DEAN OF THE GRADUATE SCHOOI

Robbyn R . W al te r , Ph .D .

Exam ination D ate of Dissertation



ABSTRACT

Orgill, Edward R. Blue Hayes: An Analysis of the Performance Style of Jazz Saxophonist

Tubby Hayes. Published Doctor of Arts dissertation, University of Northern

Colorado, (2008)

This project is a descriptive analysis of the Jazz Saxophon e performance style of

mid 20

th

century British jazz saxop honist Tubby (Edward Brian) Hayes (1935 - 1973).

Hayes represents the finest of E uropean jazz saxophon ists during the late 1950s and

1960s. He was the first British jazz saxophonist with ability equal to his Am erican

contemp oraries, and he helped lay the foundation on which the strength of jazz in Euro pe

during the latter part of the 20 century was built. This analysis focuses on the

performance o f Tubby Hayes during two consecutive 1961 recording sessions that took

place in New Yo rk City during his first trip to the United States. At this time, Hayes was

in top form as a jazz saxophonist, and performing with an American rhythm section m ore

accustomed to accompanying virtuosic saxophonists than rhythm sections found in the

United Kingdom. Ha yes 's brilliant performance, strong contributions from trumpeter

Clark Terry, pianist Horace Parian, bassist George Duvivier, drum mer D ave Bailey and

vibraphonist Eddie C osta as well as excellent production quality resulted in an album that

is one of the strongest jazz recordings from the period, Tubbs in New

York,

re-released in

1990 under the new title

Tubby Hayes with Clark Terry: The New York Sessions.

This

analysis is based on and includes com plete transcriptions of four contrasting tracks, "Y ou

for Me," "Airegin," "Pint of Bitter" and "Soon."

iii



A C K N O W L E D G E M E N T S

I would like to thank a numb er of people without whom this project would not

have been possible. First, I would like to thank my advisor Dr. Andrew Dahlke and the

mem bers of my doctoral comm ittee, Dr. Robert Ehle, Professor Dana L andry, and Dr.

Norm an Peercy for their service throughout the processes of my exam s and writing this

dissertation. Second, I would like to thank Mr. Jim Argiro for his consultation. On a

more personal note, I would like to thank Dr. Tom and Ruth Law son for their

encouragemen t, their fresh perspective, and for being such great peop le, with particular

thanks to Ruth for her editorial assistance. I would also like to thank Irene Mae O rgill for

her love and support, for those first saxo phone lessons, and for running dow n to the

mu sic store to rent a tenor saxophone for me to play 30 years ago. It probab ly took

longer, but I seem to remem ber the instrument showing up the day after I asked if I could

play it in the school ban d. I felt so cool that day. Darold J Orgill is a rock to stand on.

Thank you for that. Finally, I would like to thank my wife, Dr. Sonya Ruth L awson

particularly for her patience with me, but also for her love, support and assistance with

this project.

iv



TABLE OF CONTENTS

CHAPTER

I. INTRO DUC TION.. . . 1

II. REVIEW OF LITERATURE 6

III. METHO DOLOG Y 31

IV. TUBBY HAYES THE BOPPER 44

V. THE PERFORMA NCE STYLE OF TUBBY HAYES 54

Sound: Ton e Quality and Texture 54

Rhythm 57

Form and Growth 62

Melody 65

Harmony 68

VI.

SUMM ARY AND CONCLUSIONS 77

Suggestions for Further Study 78

APPENDIX

A. Transcription of

Airegin

81

B. Transcription of You for Me 90

C. Transcription of Soon 98

D.

Transcription of

Pint o f Bitter

107

BIBLIOGRAPHY 112

DISCOGRAPHY 116

v



L I S T O F M U S I C A L E X A M P L E S

Page

Example 1: 1

st

improvised ch orus, B section, measures 2-8,

from "Airegin" (1961) 47

Example 2 : 2

n d

improvised chorus, B section, measures 3-7,


Example

3:

4

th



Example 4: 1

st

chorus trading fours, B section, measures 1-5,


Example 5: 1

st

improvised chorus, B section, measure 3,


Example 6: 1

st

improvised cho rus, B section, measure 3,


Example 7: 2

n d

improvised chorus, measures 22-26,

from "You for M e" (1961) 51

Example 8: 2

n d

improvised chorus, B section, measure 6,


Example 9: 1

st

improvised chorus, B section, measure 2 ,


Example 10 :1

s t

im provised chorus, B section, measures 4-8 ,


Example 11 : introduction, measures 1-8,


Exam ple 12, first improvised cho rus, measures 6-8,

from "Pint of Bitter" (1961) 61

vi



Exam ple 13, fifth and sixth improvised chorus, measu res 32,

and 1-6, from "So on" (1961) 64

Exam ple 14, fifth improvised chorus, measures 23-32,

from "Airegin" 65

Exam ple 15, first improvised cho rus, solo break and m easures 1-8,

from "Soon " (1961) 66

Exam ple 16, fifth improv ised chorus, measures 23-3 2,


Example 17,2 improvised chorus, measures 70-75,


Exam ple 18, 1st improvised cho rus, solo break and measure 1,


Example 19,

1

st

improvised chorus, measures 1 and 2,


Example 20, 3

r d

improvised cho rus, measures 1-5,


Example

21,

im provised chorus, B section, measures 1-5,


Example 22, Solo break and measure 1, from melody choru

and 1

st

improvised chorus o f Soon" (1961) 75

vii



CHAPTER I

INTRODUCTION

This dissertation provides an analysis of the saxophone performing style of the

mid-twentieth century British jazz saxophone sensation Tubby Hayes du ring a landmark

1961 recording session in New York City that resulted in the album Tubbs in New

York,

re-released in 1990 under the new title

Tubby Hayes with C lark Terry: The New York

Sessions.

The analysis is based on four complete transcriptions appearing in the

appendices, "You for M e," "Aireg in," "Pint of Bitter" and "Soo n". Ha yes ' performance

on this album provides an excellent specimen for transcription and analysis which will

add to the growing bod y of jazz scholarship based on transcription and analysis

documen ting the contribution to jazz style made by E urop e's finest tenor saxophonist of

his time.

Jazz music began to spread to Europe from the United States early in its history

when musicians such as Sydney Bechet (1897-1959) and James Reese Europe (1880 -

1919) began a parade o f countless American jazz masters across the Atlantic that

continues to this day. This eastward spread of jazz has inspired some significant

contributions

to

jazz style by European performers; Django Reinhardt and Stephane

Grappelli were amon g the earliest high-profile examples of this phenomen on and their

style is still studied and practiced w orldwide, reminding u s that the E uropean jazz

tradition has been alive and well for over half a century.



2

Although it has not been widely noted in the United S tates, jazz h as had and

continues to have tremendo us influence in the United K ingdom where one can easily find

live jaz z performances in any of its major cities. This should c om e as no surprise, since

the most com mercially successful era in jazz history, the big band era reached a peak in

the years leading up to and during World W ar II. British big bands such as the one lead

by Bert Amb rose were established in the U.K. by the 1930s,

1

and jazz m usic received a

tremendous boost during the war. Jazz was a large part of the popular culture brought to

the U.K. when a steady build up of troop strength resulted in roughly on e m illion

Am erican soldiers stationed in the United Kingdom by D-d ay 1944.

2

One could argue that the dance bands o f the 1940s did not represent the m ost

progressive branch of a zz at the time; the beboppers held that distinction during the w ar

years,

and they were in New York. How ever, bebop improvisational techniques spread to

the progressive soloists in many of the big bands by the end of that decade, and jazz

music was on the airwaves.

3

Beb op's influence was felt across the Atlantic.

4

While an analysis of the myriad sources of inspiration for British jazz musicians

is not within the scope of this project, it is clear that the elite group o f people that

represent the best in the world o f jaz z includes a strong albeit com paratively small

contingent from the United Kingdom. Marian McP artland, host of National Pub lic

Radio's longest running show, Marian McPa rtland's Piano Jazz is an excellent example,

particularly with regard to her ongoing contribution

to

jazz history as an educator,

1

Leonard Feather and Ira Gitler. "Ambrose B ert," in The Biographical Encyclopedia of Jazz. (New York:

Oxford University Press, 1999), 16.

2

Sonya O. Rose. Peoples

War:

Ntional Identity and Citizenship in Britain 1939-45. (Oxford: Oxford

University Press, 2003), 75.

3

Alyn S hipton. A New H istory of Jazz. (London: Continuum, 2001), 562.

4

Simon Spillett. Liner notes from Tubby Hays: The Little G iant. Proper Records Ltd. PROPERBOX 117

2007.



3

performer and "spokesperson for jazz in the media."

5

McPartland moved to the United

States in 1946 at the age of twenty-six after her m arriage to Chicago jazz mu sician

Jimm y McPartland, whom she met during the war while playing for troops in Belgium.

6

Although an American now, Marian McP artland grew up in the United Kingdom . This

included her formal education, and the first part of her professional career. W hen she

moved to the United States, she made the transition with apparent ease and was

performing as a professional jazz m usician with her husba nd's quintet shortly after h er

arrival. Her career has been imp ressive since then and has continued to this day.

7

Another well-known British pianist who moved to the United States is George

Shearing, who em igrated from L ondon in 1937. Mo re recently British bass player and

Miles Davis band alum nus Dave Holland has led two New York-based ensemb les, The

Dave Holland Band and the Dave Holland Big Band that are among the most p rogressive

and skilled jazz groups performing today. Other current British jazz performers o f note

include Victor Feldman, John Taylor, John M cLaughlin, and Courtney Pine.

A closer look at the middle of the last century reveals other notable jaz z musicians

from the United Kingdom such as tenor saxophonist and founder of Lond on's m ost

famous Jazz club, Ronnie Scott, and Jamaican born trum peter Dizzy Reece, who spent a

numb er of years developing his musicianship in London prior to moving to N ew Y ork.

Another mid-century musician from England, who came be to known as "the

foremost European jazz artist of his generation,"

9

was London war child Tubby (Edward

5

Leonard Feather and Ira Gitler. "McPartland, Marion," in

The Biographical Encyclopedia of Jazz.

(New

York: Oxford University

Press, 1999),

456.

6

Ibid.

7

Ibid., 465.

8

Ibid., 597.

9

Benny Green and Tony H iggins. Liner

notes

from Tubbs. London: Mercury Records, 2005.



Brian) Hayes (b. London, 1935 - d. London, 1973), a saxophonist who enjoyed a colorful

career as a performer, band leader, composer, and recording artist in Europe, and the

United States. Hayes w as a rema rkable musician, and the first world-class European jazz

saxophonist. Primarily a tenor saxophonist who doubled on flute and vibraphone, Hayes

contributed a large body of recordings to the world of a zz both at hom e and abroad,

nearly all of which have received critical acclaim. Brita in's Melody Maker magazine jazz

polls voted him B ritain's top tenor saxophonist six times from 1959-1964 and added the

honor of naming him Britain's musician of the year in 1962 ,1963 , and 1964. Am erica's

Downbeat

magazine called him a "talent deserving of wider recognition."

10

In the United Kingdom , Hayes h as received plenty of attention both during his

career, and since his death, achieving legendary status. But

Downbeat

was correct in

regard to his popularity in the United States where he has remained relatively unknow n;

despite the fact that his skill as a musician w as at par with the best in the U nited States.

In 1961 Hayes w as signed with the British record label Fontana,

11

a com pany with

broader distribution which allowed for his recordings to be issued in the United States for

the first time. He traveled to the U.S . that same year in an exchange promoted b y Ronn ie

1 0

Scott that also brought Am erican Jazz saxophonist Zoot Sims to London. This was the

first of several tours to the United States Hayes m ade during his short life. He played an

engagement at the Half Note and becam e the first British jaz z soloist to be in residence at

a New York City jazz club.

Barbara Schwarz, Tubby Hayes: A Discography. (Zurich & London: B lack Press, 1990), 93-97.

" Higgins.

12

Les Tomkins, "The Tubby Hayes Story: Les Tomkins' 1963 Survey of a Notable Tenorm an's Career,"

Crescendo International, February, 1989: 22

13

Simon Spillett, The Long Shadow of the Little Giant [Webpage] Accessed July 29, 2007. Available from

http://www.jazzscript.co.uk/extra/art.hayes.htm .

http://www.jazzscript.co.uk/extra/art.hayes.htm





5

Hayes also made his first recording in the United States on that trip. The album,

originally titled

Tubbs in New York,

did not m ake a big splash in the Un ited States, where

Hayes was not particularly well know n, and there was no shortage of fine American tenor

saxoph onists. How ever, the fact that the album was recorded at all is revealing. Desp ite

presence on the Am erican jazz scene of so many great jazz saxophonists such as John

Coltrane, Sonny Rollins, Hank Mobley, Stan G etz, Sonny Stitt, Dexter Gordon, H arold

Land, and others, Hayes had developed a good enough reputation from across the

Atlantic to get him a record date w ith New Yo rk jazz m usicians.

Tubby H ayes did not disappoint. From the first cut, his virtuosity is obvious. His

improvised solo lines are delivered, often at blistering speeds, with a smooth sound and

clean technique. With the support of seasoned jazz m usicians from N ew York who were

more experienced at accompany ing virtuosic saxophonists than the European rhythm

sections he had recorded with in the United Kingdo m, the result was arguably the

strongest overall recording of Hayes and certainly the finest recording from that period

featuring a British jaz z saxophonist. Ha yes ' perform ance, and strong contributions from

trumpeter Clark Terry, bassist George D uvivier, drum mer Dave B ailey, pianist Horace

Parian and Eddie C osta on vibraphone resulted in a recording that deserves a place

among the best of all jazz recordings from the period, referred to as Tubbs in New

York/The New York Session

for the rest of this document



6

CHAPTER II

REVIEW OF LITERATURE

W hen compared to the volumes written confirming the contribution to jazz

m usic 's history made by tenor saxophonists such as John Coltrane, Sonny Rollins, Stan

Getz and a number of other American saxophonists from the same period, the body of

work about Tubby H ayes is considerably smaller. In fact, Ha yes ' music was selected for

this project in part because it has yet to receive the kind o f attention accorded his m ore

famous Am erican counterparts. Ha yes' contribution was significant nonetheless, and this

can be confirmed through exam ination of the information that is in print and on the

internet, the vast majority of which is biographical in nature with som e discussion about

the overall quality of his work.

Although there has been mention about a future full-length biography ,

14

to date

there are no books dedicated solely to the subject of Tubby H ayes. There are, however,

Hayes related entries in a number of biographical dictionaries devoted to mu sic, and he is

mentioned in various written accounts of jazz history. In these sources he is often named

in reference to E urop e's greatest jazz saxophonists, or as an example in a discussion of

the strongest non-A merican jazz m usicians of the nineteen sixties.

15

There are also

references to his participation in a large num ber of m ovie sound tracks,

16

which is

consistent with his work as a studio musician in L ondon throughout his career.

14

Spillett, The Long

Shadow.

15

Bill Kirchner, "Tubby H ayes," in The Oxford Companion to Jazz, (New

York:

Oxford University Press,

2000): 610.

16

Ibid., 717.



7

W ith regard to biographical dictionaries, there are entries for Tub by H ayes in The

New Grove Dictionary of Jazz. The Encyclopedia of Popular Music. The Penguin

Encyclopedia of Popular Music. The Biographical D ictionary of Ja zz . and Th e

Biographical Ency clopedia of Jazz. These books all outline his career in a similar

fashion, painting a virtuosic picture of Hayes in short but dense entries with phrases such

as "Hayes w as world-class alm ost from the outset of his career.. .,"

17

and "(Hayes is) the

best-known, best-loved B ritish jazzm an o f his generation."

As one w ould expect from sources of this nature, all of the biographical entries

provide a list of the significant groups in which he played and provide a selected list of

important recordings and performances. Hayes is described as a player firmly established

in the bebop tradition. He was a prodigy, and by all accounts was an impressive player

early in life, playing professional engagements b y the age of sixteen. He died rather

tragically on the operating table in 1973 during a second surgery to correct a faulty heart

valve discovered a few years earlier. From 1957-59 he co-led The Jazz Co uriers,

En gland 's most famous small jazz group of the late 1950s, with older tenor saxophonist

Ronnie Scott who would later open London's most famous jazz club.

A num ber of printed periodical articles written about Tu bby H ayes are currently

available, including record reviews, a reprint of an article featuring an interview w ith

Hayes,

19

and a tribute piece that features an interview with H aye s' former ban d ma te Vic

Ash discussing Hayes life and career. Record reviews are the most comm on. This is

17

Colin Larkin, The Encyclopedia of Popular Music: Vol III. (London: Muze, 1995)

18

Donald Clark, The Penguin Encyclopedia of Popular Music. (London: V iking, 1989): 529.

19

Les Tomkins, "The Tubb y Hayes Story: Les Tom kins' 1963 Survey of a Notable Tenorm an's C areer,"

Crescendo International, February, 1989: 22.

20

Simon Spillett, "Celebrating Tubby: Vic Ash about Tu bby Ha yes," Jazz Journal International,

November, no. 55

(2002):

14-17.



8

due to the appearance of several reissued CD s following a recent upsurge in Hay es'

popularity. Like most record reviews, these contemporary reviews provide basic

biographical information and musical commentary.

The B ritish publication Jazz Journal International has printed five such reviews

since Nov emb er 2000 . These articles tend to be fairly concise and sometimes review

mo re than one album at a time. This is the case with two of the

Jazz Journal

International

articles by Steve Voc e. In the first, appearing in August

2001,

he reviews

The Swinging Giant and The Eighth Wonder, two Jasmine Records re-releases.

21

In the

second appearing January, 2006 Voce reviews the Harket Records release

of

On

the Air

as well as the Fontana Records releases/ 00% Proof, Tubbs, Constanzo Plus Tubbs,

Return Visit, Tubbs Tours, Mexican Green, and Addictive Tendencies. Voce provides

background on each album along with the usual commentary on Hayes' outstanding

musicianship.

The most interesting point in this article comes from com mentary provided by

Voce. He hints at his displeasure associated w ith the dom ination of the jazz world by the

Americans when he comments to his mostly European audience that "The tenet should be

that a good musician is better than a mediocre one , not that an American is automatically

better than a European."

23

Voce feels Am erican jazz writers are biased.

In his review Voce also discusses

The Eighth Wonder Tubby Hayes

(1958), an

album that experiments w ith multi-tracking. Three tracks on this album feature Haye s

playing the overdubbed tracks on five different saxophone parts, vibes, and piano. W hile

21

Steve Voce, "Tubby Hayes, The Swinging Giant, The Eighth Wonder," Jazz Journal International

August, no.54:8. (2001): 29.

22

Steve Voce, "TubbyHayes," Jazz Journal International, August, no.59:l. (2006): 26-28.

23

Steve Voce, "Tubby H ayes," Jazz Journal International August, no.54:8. (2001): 29.



10

released . If correct, this inform ation is significant beca use the Fon tana label is

responsible for most of the Tubby H ayes recordings, including Mexican Green (1968)

which is considered on e of his strongest.

Although fewer in number, there are some Hayes reviews that appear in American

publications. Perhaps the most revealing is one appearing in the "Vinyl Freak " column

of the March 2005 issue of Do wnbeat

2

* magazine which discusses two albums that have

not been re-issued on CD, Just Friends (1965) and C hange of Setting (1967). These two

albums feature, among others, Tubby Hayes and Paul Gonsalves. Gonsalves played the

lead tenor saxophone ch air with the Duke Ellington Orchestra from 1951 to 1974,

29

and

is famous in part for his crowd inspiring twenty-seven chorus blues solo on E llington's

"Diminuendo and Crescendo in Blue" during the Band's comeback performance at the

New port Jazz Festival in 1956. Hayes and Gonsalves recorded the two LPs after Hay es

was called upon to cover for his American counterpart in the Ellington band w hen

Gonsalves took ill prior to a performance at Lon don 's Royal Festival Hall in 1964.

In the Downbeat column author John Corbett describes the recordings in a typical

review fashion, but h e also offers a more accurate description of the events leading up to

the famous D uke Ellington performance, correcting some information appearing

originally in the liner notes for the first of the two LP releases and in other places

afterwards.

30

Apparently, Ellington called out to the audience in Royal Hall for a

replacement when G onsalves grew too sick to perform imm ediately before the show .

27

Ibid.

28

"Vinyl Freak" is a regularly occurring column in Down Beat featuring review s of recordings only

available on v inyl LPs.

29

Mark C. Gridley. Jazz Styles: Jazz Styles: History and Analysis. (Upper Saddle River New Jersey:

Prentice Hall, 2003), 113.

30

In the liner notes accom panying the album Tubb y Hayes Quartet in Scandinavia, author Alun Morgan

describes the events surrounding the last minute replacement of Ellington saxophonist Paul G onsalves w ith

Tubby Hayes as an audience member would have perceived it.



11

Acco rding to Corbett, Tubby Hayes w as contacted earlier in the day and planted in the

audience to be singled out by Ellington for a publicity stunt. This is consistent with

Elling ton's sense of showm anship. How ever Corbett offers no way to validate the

information. Non etheless, Hayes did cover the part for Gonsalves on short notice and

played "splendidly."

31

Downbeat is not alone amon g American periodicals to mention the esteemed

British saxophonist. New York's Cadence magazine, a publication devoted to exploring

the topics of improvised m usic and improvising mu sicians, has also published som e

favorable reviews of Tubby H ayes recordings. Tubby Hayes, A Tribute, and Tubby

Hayes-Ronnie Scott, The Cou riers of Jazz, both reissues, were reviewed in A pril, 2001

and October, 2004 respectively.

32

In addition to record review s, articles about Tubby Hayes him self can be found in

print. Jazz Journal International featured a piece in 2002 written by Sim on Spillett, an

award-winning saxophonist and Tubby Hayes scholar living in the United Kingdom.

33

Spillett interviewed Vic Ash on the subject of his friend and fellow saxophonist Tubby

Haye s. Ash, the lead tenor saxophonist with the BBC B ig Band in 2002, worked with

Tubby H ayes for the first of man y times in 1951 when they both w ere memb ers of the

London-based K enny Baker band. Both Ash and Hayes were recorded for the first time

while working with this ensemble. In this interview, Ash supports the widely-held n otion

that Hayes was a remarkable m usician even at the age of

16.

He also helps Spillett

31

John Corbett, "Paul Gonsalves & Tubby H ayes" and "The Paul Gonsalves A ll Stars Featuring T ubby

Hayes,"

Downbeat

March, (2005): 19.

32

Robert Iannapollo, "Tubby Hay es, A Tribute: Tubbs, Spotlight 902."

Cadence

April, Vol. 27 No. 4

(2001): 26-27; Alan Bargebuhr, "T ubby Hayes-Ronnie Scott, The Couriers of Jazz, Fresh Sound 1609."

Cadence

October, Vol. 30 No . 10 (2004): 31-32.

33

Simon S pillett, "Celebrating T ubby: Vic Ash about Tubby Ha yes,"

Jazz Journal International,

No vem ber, no . 55 (2002):14-17.



12

document the triumphs as well as some of the darker moments in Hayes' career during

the 1960s such as his drug use and the decline of his health.

Spillett's article also supports the idea that Hay es' was at his best as a musician

during the early 1960s, which is the time he traveled to New York to record Tubbs in

New York/The New York Sessions.

This is in part because H aye s' health had deteriorated

in the latter part of the sixties and hampered his ability to play, but also because his

playing was rooted in the bebop and hard bop style. Challenged by progressive forces in

the later part of the decade, Haye s:

"had tried to keep up with them (younger more progressive

players) by indulging in some very self conscious free

playing and in attempts to graft rock rhythm s onto his

work, but neither held the listener in quite the sam e way as

his supremely confident and athletic hard bop had don e."

34

Another article, The Tubby Hayes Story: Les Tomkins' 1963 Survey of a Notable

Tenorman

's

Career

appearing in the February 1989 issue of

Crescendo International

mag azine, is chock full of Hayes quotes and specifics about important people and events

in his life. In it, Hayes states that his father, a professional mu sician in Londo n, started

him on violin and piano instead of the saxophone as Tubby had wished. Hayes claims

that this gave him "good grou nding." Hayes also discusses how "right from the st ar t. ..

(he) was inspired by Am erican jaz z m usicians," but "never dream ed" he could fulfill the

ambition to play jazz in Am erica.

The To mk ins interview is particularly revealing for this project, because Hayes

discusses his impressions of the New York jazz scene following his trips to the U nited

States, the first of which resulted in the recording that is the focus for this project: "the

34

Ibid.

35

Tomkins, "The Tubby H ayes Story," 22.



13

musicians that I (Hayes) met ov er there are very much m ore conscientious than they are

over here (London). .. .there's so mu ch competition." W hen comparing the two places,

Hayes m entions how "we (British) do still lack it sadly in a lot of ways in the rhythm

sections."

36

Here Hayes himself indirectly supports the perception that The New York

Sessions/Tubbs in New York recording is the strongest of the T ubby H ayes recording s,

not because of Hay es' performance which is as strong on other albums, but because o f

the New York based rhythm section.

In addition to the Tubby H ayes sources that are basically biographical in nature,

there are a few discographies. Hayes has received top billing on over twenty albums and

was a side man on countless others. This information is detailed to varying degrees in

three currently available sources, Tubby Hayes: A Discography by Barbara Schw arz,

7

Tubby Hayes Discography Addendum

38

by Tom Davis, and The Shorter Tubby Hayes

Discography?

9

Schw arz's discography provides the basis for the other two and is

augmented w ith a timeline of Ha yes ' life, a list of his television ap pearances, and a list of

his participation in at least nine film sound tracks. He even app eared in one titled

All

Night Long.

40

He hosted his own BBC television program, Tubby Plays Hayes,

41

and

made twenty-five appearances on B ritish television as a result.

42

Another good source of information on T ubby Hayes can be found in the liner

notes for his recordings. Like most liner notes, these tend to follow a formula that caters

36

Ibid., 23.

37

Schwarz,

A Discography.

38

Tom Davis,

Tubby Hayes Discography Addendum

(2005). [Webpage] Accessed July 26,20 07.

Available from http://www.geocities.com/tubbsl935/HayesDiscoAddenFinal070305.doc .

39

Unsigned website based on

Tubby Hayes: A Discography by Barbara Schw arz,

[Webpage] Accessed

July 26,2007. Available from http://www.geocities.com/tubbsl935/TubbyHayesdiscog.html .

40

Schwarz,

A Discography:

72-73.

41

Spillett,

The Long Shadow.

42

Ibid.,

59-71.

http://www.geocities.com/tubbsl935/HayesDiscoAddenFinal070305.doc


http://www.geocities.com/tubbsl935/TubbyHayesdiscog.html






14

to the casual listener by providing biographical information about the performers and

discussion about individual tracks. Despite their light character, liner notes can be a

valuable resource in projects of this nature, and this is true to varying degrees in the liner

notes for albums that feature H ayes.

It has been o ver thirty years since his death, and many o f his recordings have,

until recently, been difficult to obtain, but fortunately, due to the recent upsurge in

Ha yes' popularity, a numb er of new releases and reissues have become available. The

liner notes for

Tubbs in New York/Tubby Hayes with Clark Terry The New York

Sessions,

"(1961)** have prov en the mo st useful for this project, bu t I hav e also acquired

fifteen other album s with liner notes, including: Tubbs, (1961)

4

also recorded in 1961,

but not to be confused with the title just m entioned; Tubby Hayes an d Ronnie Scott: The

Couriers of Jazz (1958)

;

Tubby Hayes Quartet: Commonwealth Blues

(1965);

Tubby

Hayes And

The

All Stars: Return Visit

(1962),

47

recorded during H aye s' second visit to

the United States;

The Eighth Wond er (1958,1959),

48

Tubby Hayes: Live

(1969);

49

100%

Proof

"(1967) ,

5

Tubby Hayes: England's Late Jazz Great,

5X

a compilation of b roadcasts

featuring Hayes in performances from 1957 to 1972; Tubby Hayes Q uartet in

43

Tubby Hayes. Tubby Hayes w ith Clark Terry: The New York Sessions. Columbia ADD 45446, 1990.

44

Tubby Hayes. Tubbs, Fontana. 983 1887, 1961; Re-released 20 05.

45

Tubby Hayes. Tubby Hayes and Ronnie Scott: The Couriers of Jazz. Fresh Sound Records FSR 1620,

1958. Originally issued on CARLTON Stereo STLP 12/6116.

46

Tubby Hayes. Tubby Hayes Quartet: Commonwealth Blues. Art of Life R ecords AL 1016-2, 2005 .

47

Tubby

Hayes.

Tubby Hayes a nd the All Stars: Return Visit (1962), LP, Fontana R ecords

Ltd, CD reissued 2005, Universal Classics and Jazz UK BIEM/SABAM 983, 1888.

48

Tubby Hayes. The Eighth Wonder Tubby Hayes, (1958), LP, Jasmine Records, CD reissued 2000,

JASCD611 .

49

Tubby

Hayes.

Tubby Hayes: Live 1969, CD , Harlequin Records. 1990, HQ CD 05.

50

Tubby Hayes. 100% Proof: The Tubby Hayes Orchestra (1967), LP, Fontana Records

Ltd, CD reissued 2005, Universal Classics and Jazz UK BIEM/SABAM 983 1885.

51

Tubby Hayes. Tubby Hayes: England's Late Jazz Great. International A ssociation of

Jazz Record Collectors, 2005, IAJRC CD-1019.



15

Scandinavia (1972),

52

Night and D ay,

53

a collection of live performances from 1963 to

1967;

Live at the Dancing Slipper

(1966),

54

Live at the Hopbine

,

55

recorded c. 1966 ;

56

Mexican Green, (1967)

57

; and Tubby Hays:

The

Little Giant,

5%

a box set covering the

earliest part of his career, which w as released in 2007.

Reissues frequently have both the original liner notes and an update written to

accompany the re-release; Tu bby Hayes with Clark Terry: The New York Sessions is one

such album. It includes the liner notes from the 1961 LP (Tubbs in New York) and a

follow-up written for the 1990 re-release, both of which w ere written by jaz z critic,

Stanley Dance (1910 -1999), most notable for his writings about the Du ke Ellington

Orchestra.

59

In the original notes, Dan ce was true to the formula and briefly provided

biographical information about Hayes as well as some keen insight into his visit to New

York and the two consecutive days of recording sessions that com prised the album.

Dance stated in the original liner notes that Hayes spent a number of days at Colum bia

"holed u p" in a practice room preparing for the sessions, which is easy to believe since

the end product is probably the best recording of H ayes that exists, given the m usicians

(especially the rhythm section) Hay es played with on this recording, who were am ong the

best playing in New Y ork at the time. Mo st of the tracks were recorded in one take,

according to Dance, and everyone participating in the recording was relaxed. Dance

Tubby Hayes. Tubby Hayes: Q uartet in Scandinavia. Denmark: Storyville Records,

1998,

STCD 8236.

5 3

Tubby H a ye s . Night and Day. R onn ie Sc o t t ' s Ja z z H ouse , 1995 , JA C D 049 .

54

Tubby Hayes. Tubby Hayes Quartet: Live at the Dancing Slipper. Harkit Records, 2006,

HRKCD 8198. Records FSR 1620, 1958. Originally issued on CARLTON Stereo STLP 12/6116.

53

Tubby Hayes. Tubby Hayes: Live at the Hopbine, (c. 1966), Harkit Records, 2005,

HRKCD 8195.

56

The liner notes for this recording m ake an educated guess as to the recording date.

57

Tubby

Hayes.

Mexican Green. Fontana 983 1983, 1968 Re-released 2005.

58

Tubby

Hayes.

Tubby Hays: The Little Giant. Proper Records Ltd. PROPERBOX 117 2007.

59

Bob Porter, The Last

Post.

[Webpage] Accessed June 19,20 07. Available from

http://www.jazzhouse.org/gone/lastpost2.php3?edit=920645448#ob

1.

http://www.jazzhouse.org/gone/lastpost2.php3?edit=920645448%23ob





16

included a quote from the celebrated New York jazz saxophonist, Al Cohn, which

reinforces the general view of Ha yes' virtuosity; Hayes sat in with Cohn and another

famous Am erican saxophonist, Zoot Sims, at the Half No te jazz club following the

recording session. "He came dow n and mad e us feel sluggish,"

60

said Cohn.

Da nce 's follow-up notes (written in 1989) for the 1990 reissue are short by

comparison, dealing with H ayes ' subsequent visits to the United States and his early

death as well as providing some com mentary on four additional tracks that did not appear

on the original LP. Da nce 's liner notes for both releases are available in the 1990 New

York Sessions

version

61

Similarly, the liner notes (or sleeve notes in the United K ingdom ) for Tubbs

(1961), Tubby Hayes and the All Stars: Return Visit (1962), Mexican Green (1968),

Tubbs' Tours

(1964) and

100% Proof

(1967) include the original notes and an update to

accompany the re-release. Tony H iggins, the U.K. reissue project consultant for the 2005

series of T ubby Hayes re-issues titled Impressed and R epressed on the UK Fontana label,

authored the updates for each, which along with the original notes offer some colorful

discussion about the m usic on the recording and some high praise for H aye s'

musicianship.

62

The liner notes for T he Eighth Wond er, Tubby Hayes include comments

written by Hayes himself, and Hayes is the sole author of the original liner notes for

Mexican Green

and

Return Visit.

Stanley Dance. Liner notes fro m

Tubby with Clark Terry: The New York Sessions.

(New

York:

CBS,

1990)

61

Ibid.

62

Benny Green and Tony H iggins, liner notes

from

Tubbs. (London: Mercury Records, 2005); Terry

Brown and Tony H iggins, liner notes from

100%

Proof (London: Mercury Records, 2005); Tubby Hayes

and Tony Higgins, liner notes fro m Tubby Hayes and the All Stars: Return Visit (London: Mercury

Records)



In the liner notes for

Return Visit,

Hayes discusses this second of his reco rding

dates in the United States. Produced by Qu incy

Jones,

Return Visit features two other

Am erican saxopho nists, Roland K irk and James Moody, w ho is listed on the album cover

under the pseudonym "Jimmy Gloom y." Walter Bishop Jr., the only player to have m et

Hayes prior to this recording date and Hay es' pianist during other engagements in the

United S tates, was joined by Cannonb all Adderley Sextet mem bers, Sam Jones on bass

and Louis Hayes on drum s. Hayes reports in the liner notes that his "feelings were

somewhat mixed, possibly apprehensive" due to the impromptu nature of this recording

and because of the reputations of the sidemen; Mo ody, in fact, did not even know that

Hayes was a saxophonist. Perhaps this reported apprehensiveness affected Hayes to

some extent as, although his playing is strong and Return Visit is a good record , I find it

the weaker of the two albums H ayes recorded in the United States.

In his notes for the Mexican Green album, Hayes discussed the stagnation he felt

in 1964, which was wh y he decided to disband his regular quintet and to work instead as

a solo artist in other parts of Europe and to pick up rhythm sections as needed for his

engagem ents in the United Kingdom . He wrote about forming a new group with

completely different players in order to facilitate the new "freer" direction he wished to

explore musically. In the 1960s, progressive jazz had m oved aw ay from b ebop and hard

bop, the overlapping styles which were the cornerstones of Ha yes' own style, to an

approach that was even mo re improvisatory and Hayes discussed how this new approach

had been applied to som e of the music recorded on Mexican Green. He also discussed

Tubby H ayes, liner notes from

Tubby Hayes and the All Stars: Return Visit

(Fontana Records Ltd, 1962;

reissued Universal Classics and Jazz UK BIEM/SABAM 983 1888, 2005)



18

events, including a period of convalescence in California in 1967

64

that inspired some of

the compositions recorded on the album .

The reissued

T he Eighth Wond er Tubby Hayes,

the multi-tracked recording cited

earlier in my discussion of Steve V oc e's review, has original liner notes written by both

Hayes and his producer Tony Hall with an addendum written by the compiler of the

reissue, Brian D avis. Hayes revealed in his notes that his inspiration for experimen ting

with multi-tracking lay in his frustration with the level of musicianship d isplayed by jazz

musicians in G reat Britain:

"A major problem that has confronted almost everyone

who h as led a group of any size in this country has been the

inability of som e British musicians to play together.

Sometimes they drag on certain phrases; often it is a mad

scramble to reach the end of the arrangemen t, with the first

man hom e the winner I have often been appalled when

playing in a small pick-up group at a club, to find the

pianist has a complete disregard of what the front-line man

is doing. They play different patterns on the sequence, o ne

battling against the other, and the wh ole thing sounds a

shambles. The who le idea of this record stems from the two

statements I have ma de. I figured that if the saxopho ne

section was m e, we ought to be able to play together, and

likewise if I played the piano behind my o wn solos, I

should be able to play the correct backings. It all sounds

logical enough , but to put the idea into practice was n ot so

Upo n listening to

The Eighth Wond er,

it is evident that Hayes had m ore success

multi-tracking saxophone lines than he did with his piano playing; the piano voicings he

chose are rather bland and his approach to comping sim plistic. In fact, he may hav e been

better off for purposes of the recording if he had left that job to a pianist. Nevertheless,

Tubby Hayes, liner notes from Mexican Green. (Mercury Records Ltd,

1968;

reissued Universal Classics

and Jazz UK. BIEM/SABAM 983 1983,2005)

65

Tubby Hayes, liner notes from The Eighth

Wonder

Tubby Hayes, (Jasmine Records, 1958 ,1959;

reissued

2000,

JASCD 611)



19

The Eighth Wonder

is an interesting album with only three cuts that use the m ulti-

tracking techniqu e, all of which w ere recorded in 1958. The remaining nine tracks on the

album feature a quartet with Hayes on tenor saxophone and w ere recorded a year and a

half later.

Mo re recently, in 2004, Art of Life Records issued the new release titled Tubby

Hayes Quartet with Gordon

Beck,

Johnny Butts, JeffClyne: Com monw ealth Blues, a

collection of previously unreleased B BC recordings m ade in 1965 for a series of

broadcasts to a Spanish audience; the notes for this album include yet mo re colorful

descriptions of Hay es' outstanding musicianship. The author of these notes, Richard

Hyla, underscores Hay es' virtuosity by writing ". .. [he] achieved an iconic status rarely

accorded any jazz musician o utside of the United S tates" and rose to a ".. .level of

eminence few European jazz men have ever enjoyed."

66

Hyla also points out the current

frenzied state of the marke t for Tubby H ayes-related m emorabilia, reporting that vintage

LPs featuring Hayes fetch "frequently exorbitant sum s," while the original BBC studio

discs from w hich

Commonwealth Blues

was digitally re-mastered commanded a price

that was "nothing less than astronom ical."

Six other albums of a similar nature have also been released as a result of the

recent increased demand for Tubby Hayes' recordings: Tubby Hayes Live 1969; Tubby

Hayes Q uartet in Scandinavia; Night and Day; Tubby Hayes Quartet Live at the Da ncing

Slippe;, Tubby Hayes Live at the Hopbine;

and

Tubb y Hayes: England's Late Jazz Great.

All of these albums feature previously unreleased recordings of H ayes and they all

Richard Hyla, liner notes from Tubby Hayes Quartet with Gordon Beck, Johnny Butts, JeffClyne:

Commonwealth Blues. (London: Art of Life Records, 2004)



contain liner notes that provide information regarding

the

features of each track

on the

album

in

addition

to brief,

highly complimentary biographies of Hayes.

Tubby Hayes Quarter

in

Scandinavia (1997) features Hayes

in a

live recording

made

in

Stockholm with another world-class European jazz musician, Niels-Henning

0rsted Pederson, a Danish bass player famous at the time for his work w ith Oscar

Peterson.

In the

notes, author Alun M organ, lists Sonny Rollins, Stan Getz, Hank

Mob ley, Johnny Griffin, and Dizzy G illespie as influences on Hayes.

68

He also describes

the events that occurred

at the

aforementioned Duk e Ellington concert

at

London's Royal

Festival Hall from

the

perspective of an audience mem ber. Apparen tly Morgan

was not

aware of the additional information broug ht to light by John Corbett had when he

described

a

different view of the same events

in the

2002 review discussed ab ove.

England's Late Jazz Great

is notable because it contains an eclectic group of

recordings selected

by a

comm ittee representing

the

International Association of Jazz

Record Collectors. Recorded

at

various locations from

the

late 1950s

to

1 972, this

collection contains som e remarkable performances. The liner notes, w ritten by the

Am erican jaz z radio host,

Vic

Hall, include

no

analysis

or

comm entary

on the

mu sic,

which, he says, "speaks far more eloquently for itself. Hall instead focuses solely on

biography, reporting Hayes' "trans-Atlantic exchange" with Zoot Sims

and

Hay es '

subsequent visits

to the

United Sta tes. Hall also praises

the

very good wo rk done

by

studio technicians

in

order

to

make these recordings accessible

and

listenable.

69

Alun Morgan , liner notes from Tubby Hayes Quartet

In

Scandinavia. (Denmark: Storyville Records,

1997)

69

Vic Hall, liner notes from Tubby Hayes: England's Late Jazz G reat. (Toronto: International A ssociation

of Jazz Record Collectors, 2005)



21

The new releases of

2005, Live at the Hopbine

an d

Live at the Dancing Slipper,

are two gems from Harket Records that exhibit some commend able re-mastering. There

are a num ber of extended solos on these recordings and Ha yes is in top form, d isplaying

some remarkable playing on both albums. The Dancing Slipper recording was made in

the spring of 1966 and Live at the Hopbine (considered the better of the two album s),

while undated, is judg ed to have been recorded later that same year. A comp letely

different rhythm section is featured on each album; Hayes apparently preferred the

second group, as it is the same rhythm section he ch ose to take into the studio for the

most celebrated LP of the latter part of his career,

Mexican Green.

Simon Spillett

authored the liner notes for both these album s, including biographical details, discussions

of individual tracks, the story of the discovery of the source tapes, and the various

circumstances surrounding each performance.

The liner notes for

Night and Day

are concerned only with Hayes and make no

references to specific tracks on the CD . In these notes, the jaz z journalist, Les Tom kins,

discusses his first encounter with H ayes, who was only fourteen at the time; according to

Tomkins, Hayes "proceeded to blow up a storm"

70

after borrowing a baritone saxophone

from the house band at a club owned by Tom kins. This event marked the beginning of

To m kins' long association with Hayes, which resulted in a number of broadcast

interviews and articles. Tom kins also fostered th e first m eeting between Hayes and

Ronnie S cott, who later co-led the Jazz Couriers, the United Kin gdo m 's most im portant

small jazz group of the late 1950s.

Les Tomkins, liner notes from

Tubby Hayes: Night and Day.

(London: Ronnie Scott's Jazz House,

1996)



22

The Couriers of Jazz: England's Greatest Jazz Com bo,

was originally recorded in

1958,

but reissued on CD by Fresh Sound records in 2003 and features Hayes and Sco tt's

group, the Jazz Couriers. The liner notes for this re-release consist only of those that

were included w ith the original L P; in them, R alph J. Green offered some insight into the

changing atm osphere of the British jazz scene in the late 1950s and, supported by a quo te

from G eorge Shearing, pointed out that jazz perform ance in Britain was improving at the

time,

"com ing mu ch closer to the Am erican conception" of jazz. He also discussed

how E uropean rhythm sections had tended to lag behind not only their American

counterparts, but European wind players as well. Although Green uses these

observations to em phasize that this was n ot the case with the Jazz Couriers' rhythm

section, it does support the judgm ent that

The New York Sessions/Tubbs in New York

is

the best of the Hayes recordings, not only because of the excellence of Hay es' playin g at

the time, but also because of the equal excellence of the American rhythm section.

The most complete published history of Tubby Hayes' life and career through his

twenty-first year comes from the liner notes accompanying another recent release,

Tubby

Hayes: The Little Giant, a Proper Records four-CD bo xed set issued in 2007, which is a

compilation of early Hayes recordings with various groups from 1954 to 1956. The notes

were written by the previously cited British saxophonist and Tubby H ayes scholar Sim on

Spillett who is reportedly doing research for a biography of Hayes. Spillett's extensive

liner notes for the boxed set follow the model discussed above but they are considerably

longer than most, in part because of the large num ber of tracks for which he prov ides

comm entary. Spillett also provides a great deal mo re biographical content in the course

71

Tubby H ayes, liner notes from The Eighth Wonder Tubby Hayes, (Jasmine Records, 1958, 1959;

reissued 2000, JASCD 611)

72

Spillett, The Long Shadow.



23

of the informative thirty-three page booklet included in The

Little Giant

than was

available in any of the previously-discussed liner notes, thus contributing to the historical

significance of the boxed set. A collection of photographs featuring H ayes and his fellow

musicians is also included in the set.

It is quite comm on for a jaz z m usician, particularly a wind p layer, to be a sideman

in addition to having a solo career and Tub by Hay es was no exception; h e performed as a

sideman quite frequently in his career, both in live settings and in the studio. He is

mentioned in the liner notes for many of the recordings on which h e performed as a

sideman; Dizzy Re ece's debut album with Blue Note Records,

Blues in Trinity,

provides

an excellent examp le of such information. The liner notes for

Blues in Trinity

follow the

familiar pattern, focusing p rimarily on R eece, but there is a paragraph devoted to H ayes

and a quote, credited to jazz trumpeter Don ald Byrd: "I first heard T ubby when I spent a

weekend in London . Man, he can play. I'd like to have thrown som e really fast tempos at

him, just to get him mad. But he'd have made them."

73

As is the case with research in virtually every field, the internet is a fertile place to

find information about Tubb y Hayes. How ever internet sources are not always reliable,

and while a search using the words "Tubb y Hayes saxo phon e" nets tens of thousands of

results, and are thousands of redundan cies in those numbe rs, and most of these are hits

marking o n-line record stores that have Tubby H ayes recordings available for purchase.

The task of sorting out all the reliable useful internet based sources wou ld be formidable

to say the least.

Fortunately, there is a regularly updated website that does this already.

Remem ber Tubbs: A T ribute Website

contains a variety of useful en tries dating back to

73

Tony Hall, liner notes from Blues in Trinity (New York: Blue Note

Records,

1958)



October, 2004 , when it was launched. The entries found on this website include quotes

about Hay es; dates for T ubby H ayes CD re-releases, tribute concerts, etc., and links to

over twenty other web sites that also contain useful H ayes-related m aterial, including

record review s, discographies, liner notes, video footage, interview transcripts, and a

recently added site (courtesy of Tubby H ayes scholar, Simon Spillett) that contains a

partial transcript of the 1973 BBC tribute broadcast aired shortly after H aye s' d eath;

there is even a site to help would-be visitors locate Haye s' grave. An opening statement

that appears atop

Remem ber Tubbs: A Tribute Website

sums up the site's purpose: "This

web site - launched in June 2004 - is dedicated to the m emory of the late, great, Tubby

(Edward B rian) Hayes who w as arguably the most prodigiou sly talented jazz mu lti-

instrumentalist the British Isles has ever pro duced."

Am ong the links to be found at the

Remember Tubbs

website is

Andy's Top

Tenors, a website dedicated to sharing transcriptions of solos by man y jazz tenor

saxophonists; there are five Hayes solo transcriptions available for viewing or to

download at this website: "Dolph in Da nce" from

For Members Only;

"The Killers of

WW I" from

Tubby Tours;

and "Tin Tin D eo," "Like Someone in Lo ve," and "Su nny

Mond ay," which are from both Tubby's Groove and Eighth Wonder?

6

These five are the

only transcriptions of Hayes solos currently available and, as transcriptions, they m erely

provide the bare notes on a treble clef staff with a title and a tempo m arking; some of

them are incomplete and they offer no analysis of any kind. There are no chord changes

indicated ab ove the staves nor are there any articulation indications or dynamic m arkings.

74

Webmaster.

Remember Tubbs: A Tribute W ebsite.

[Webpage] Accessed July 15, 2007.

Available from http://www.geocities.com/tubbsl935/.

75

Ibid.

76

Andy Whiteford,

Andy's Top Tenors.

[Webpage] Accessed July

11 ,

2007. Available from

http://www . geocities. com/and yw 12 91.

http://www.geocities.com/tubbsl935/


http://www/

http://www/

http://www/




Despite their shortcomings, these transcriptions could prove useful for comparisons to

other solos, although a check for accuracy might be a good idea.

Another useful link on the Remember Tubbs website is one to Jazz Professional, a

UK based website. Here, among some Hayes record reviews and blindfold test

transcripts,

77

there are two items of interest to Tubby Hayes enthusiasts: first, there is a

complete transcript of the Les Tomk ins interview appearing in the article published in

Crescendo

magazine discussed above on pages 13 and 14. This transcript is considerably

longer than the version in print and provides considerable additional information to the

truncated version available in print.

In the portion o f the interview om itted from the Crescendo article, Hayes

discussed his first trip to the west coast of the United States and described the various

bands he had heard and played w ith while he was there, comparing the "pa ce" of the Los

Angeles jaz z scene to that of London and noting that New Y ork 's "p ace" was faster than

that of either London or Los Ange les. Hayes also had elaborated on his frustration with

British rhythm sections, specifically th e lack of good drumm ers in the United Kingdom ,

and speculated that this might be because there was not enough competition or places for

them to perform.

78

Hayes also referred to two television appearances he had made as

well as "doing radio interviews all the time" while he was in Los Ange les; he had been a

guest (along with Mel To rme) on a program hosted by G eorge Shearing and a panelist on

an hour-long discussion of jaz z hosted by Leonard Feather.

79

77

A blindfold test is when a m usician or a group of them are asked to identify another performer by

listening to a recording. This sight features some transcripts of blindfold tests. Tubby Haye s takes part in

one,

and is the subject of another.

78

Les Tomkins, Tubby Hayes (1966). [Webpage] Accessed July 26, 2007. Available from

http://www.jazzprofessional.com/interviews/tubby_hayes.htm.

http://www.jazzprofessional.com/interviews/tubby_hayes.htm





The second item of interest that is accessible through the

Jazz Professional

website is another transcribed interview provided by Les To mk ins; "Anglo A merican

Exchang e: Tubby H ayes M eets Sal Ne stico" is one of several dialogue interviews

featuring jaz z artists from both sides of the Atlantic Ocean that were recorded by

Tom kins throughout his career. This one features Tubby Hay es interviewing Sal Nestico ,

tenor saxophonist with the Wood y Herman O rchestra; no date is provided for this

interview, but Nestico had been interviewed by Les To mkins h imself in 1965 and it is

possible the Tubby Hayes/Sal N estico dialogue occurred close to that time. I use the

word " dialog ue" because this transcript does not read like an interview, but is more like a

conversation between two jazz mu sicians who have a lot in com mon and an abundance o f

ideas to talk about. Both of these tenor saxophonists had their roots in the bebop tradition

and were used to practicing patterns that are designed to fit sequ ences of chord changes

and they had both earned reputations for playing very fast in the bebop style. They

discussed their frustrations with having to live up to their reputations all the time as well

as their desires for the chance to experiment m ore; they agreed that the bebop m ethod

could be restrictive w hen they w ere playing in the free style of the mid- to late 1960s.

They talked about equipm ent, doubling on other instruments, other musicians, sound

production, and trends in jaz z styles; as a result of this free-ranging conv ersation, this

transcript provides a particularly fascinating w indow into the wo rld of the jaz z tenor

saxophonists in the 1960s.

80

Another web-based source is

Jazzscript,

a British w ebsite devoted to the sale of

jazz bo oks and C Ds, which offers a biography of Hayes written by Simon Spillett in 2004

80

Less Tomkins, Tubby Hayes Meets Sal Nestico (2000). [Webpage] Accessed July 26, 2007. Available

from http://www.jazzprofessional.com/Exchange/HayesNistico.htm.

http://www.jazzprofessional.com/Exchange/HayesNistico.htm





for their website As previously cited, Spillett is the British saxophonist and Tub by

Hayes scholar who w rote the liner notes to the 2007 release of the compilation CD set,

Tubby Hays: The Little Giant, which examined the early part of H aye s' life and career.

The

Jazzscript

docum ent, which was written three years before the

Little Giant

liner

notes,

presents a passionate account of Tub by H aye s' career at its height.

82

Taken

together, these articles indicate that Spillett is, at the present time, one person most

know ledgeable about the life of Tub by Haye s.

Spillett is also quite eager to see Hayes take a place among the greats in Jazz. He

begins the

Jazzscript

article by describing Hay es' career as "most remark able" and

"central to the trajectory of jazz in the United Kingdom for close to twenty year s" and

goes on to state that "no one musician had done m ore (during the decade prior to offers

from Miles Davis to British performers John McL aughlin and Dave H olland) to raise the

gam e of the local [British] performers than Tubby Ha yes" and "With British m usicians

today hopping regu larly on and off the Am erican continent, and with truly equal status

irrespective of their country of origin, Ha yes' achievem ents may now seem comm onplace

and scarcely raise an eyebrow, but in the 1950s playing the Americans at their own gam e

was often little more than a pipedream ."

83

Spillett offers the insight that Hayes did not have to make the awkward transition

from swing player to bebop in order to remain progressive, because his prim ary

influences cam e from the m usic of Charlie Parker and Dizzy G illespie, and while this is

comm onplace today, in the 1950s London Jazz scene, it was an anom aly, because most

British jazz mu sicians that were playing at a comparable level were older and "steeped in

81

Spillett,

The Long Shadow.

82

Ibid.

83

Ibid.



28

the work of swing players such as Lester Young and Coleman Hawkins."

84

Spillett's in-

depth article documents the meeting of Tubby Hayes and Ronnie Scott, which led to the

formation of The Jazz Co uriers and provided Hayes w ith a place to develop his abilities

beyond those of his peers; in fact, according to Spillett, the Couriers had toured Britain

with the legendary Dave Brubeck group in 19 58, earning high praise from the m ore

famous Am erican jazz pianist, who stated that they "sounded m ore Am erican" than his

own group did.

According to Spillett, the Dizzy R eece album Blues in Trinity [see above] also

played a pivotal role in Ha yes ' career. It is described as a "major co up" for British jaz z;

one that resulted in both Hayes and Reece be ing "short-listed" by Art Blake y for

mem bership in the Jazz Messengers, although neither worked with B lakey.

Later, Spillett describes Hayes as a "consolidator," one w ho represented th e

"finest virtues of saxophon e as it stood at the beginning of the 1960s."

86

Spillett is wise

in this evaluation, because the jaz z innovations at that time were not happe ning in beb op

and hard bop; Hayes, while a brilliant player, was not an innovator. Spillett puts it

nicely:

"Tubb y H aye s' group at the tim e.. .could in retrospect be

seen as little more than a second-hand tribute to the sort of

sophisticated h ard bop pioneered by H orace Silver five

years previously, were it not for the engaging presence of

Tubby himself.

87

Spillett then goes on to discuss H aye s' sem inal first trip to the United States, a

time when H ayes was at the "top of his gam e" (resulting in the

Tubbs in New York/New

York Sessions

recording) and became the first English jazz soloist to play a residency at a

84

Ibid.

85

Ibid.

86

Ibid.

87

Ibid.



New York clu b. Later in the article, Spillett briefly discusses the albums that followed

H aye s' first bout w ith health issues and identifies Mexican Green [see above], as Hayes'

finest album.

Mexican Green

might be the best among Hayes albums currently available,

recorded with British musicians in the United Kingd om, and prima rily featuring

comp ositions by Hayes. How ever, one would be hard pressed to place Haye s' saxoph one

playing on Mexican Green above his performance on Tubbs in New York/The New York

Sessions, the album Hayes recorded du ring the peak of his career in 1961 during that first

trip to New Y ork when h e "represented the finest virtues of tenor saxop hone."

88

Toward the end of the article, Spillett discusses H aye s' abilities on flute and

vibraphone, and includes men tion of recordings that feature Hayes playing th ose

instruments. Sp illett writes about Hayes as a com poser, arranger, and big band leader and

lists recordings that emphasize those aspects of Ha yes' talents. He also discusses the

decline of Ha yes ' health that began with his collapse from exhaustion and was fueled by

heavy drinking and som e drug use. In response to some opinions that there had been a

decline in Hay es' skills after his illness, Spillett points out that Hayes played "with mu ch

the same degree of virtuosity as of

yore"

just six weeks prior to his death. Spillett

concludes his biographical article by noting:

"Tu bby 's greatest legacy was his proving on ce and for all

that it was indeed possible to becom e a great jazz musician,

to play in an idiom which in his youth was so

quintessentially Am erican, and remain within these

[British] shores.... He was indisputably the most

accomplished and characterful British jazzm an of his

generation. His music ranks amongst the finest jazz o f his

day and still has the power to m ove those wh o, nearly fifty

years later, encounter it for the first time."

89

88

Ibid.

89

ibid.



30

Spillett frequently borders on hyperbole in his colorful descriptions of Tub by

Haye s, and this is particularly true if his reference to McL aughlin and H olland, neither of

which play saxoph one, was meant to imply that Hayes had a serious influence on their

playin g. But Spillett is a British saxoph onist

himself,

and it is easy to see why he is so

taken with the first truly notable jazz saxophonist form Great Britain. Non etheless,

Hayes lives up to Spillett's praise for the most part. Dow nbeat magazine

was

correct.

Tubby Hayes does deserve wider recognition.



31

CHAPTER III

METHODOLOGY

Although considerable attention is devoted to evocative descriptions of

Tubb y Hayes career and discourse regarding his outstanding musicianship in extant

Hayes-related docum ents, his music is a subject that is as yet academically un explored,

particularly with regard to dissertations; to date, there are none w ith his name in their title

or abstract. There are, however, a growing number of dissertations about other musicians

that use transcription and analysis as the basis for a style study. For instance , in 2003,

Andrew Dahlke wrote

An An alysis o f Joe Lovano

's

Tenor Saxophone Improvisation on

Misterioso

by Thelonious

Monk:

An Exercise in Multi-Dimensional Thematicism,

which exam ines Lo van o's performance style through in-depth transcription and analysis

of a single performance.

Another exam ple is George Werem chuck 's 1998 dissertation titled: A

Com parative Analysis of Improvised Solos Based on the Popular Songs Body and

Soul,

Night and Day

and Out of Nowhere

as performed by Selected Jazz Tenor

Saxophonists Representing D ifferent Styles.

91

Here, W eremchuck chose to focus his

Andrew Dahlke, "An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by

Thelonious

Monk:

An Exercise

in

Multi-Dimensional Thematicism." DMA dissertation, (University of

North Texas, 2003).

91

George Weremchuck, "A Com parative Analysis of Improvised Solos Based on the Popular Songs 'B ody

and Soul,' 'Night and Day' and 'Out of Nowhere' as Performed by Selected Jazz Tenor Saxophonists

Representing Different Styles." D.M.A. dissertation. (University of M iami, 1998).



32

attention on m ore than on e musician using transcription and analysis of different soloists

on the sam e songs in order to com pare and contrast different improvisational styles.

A groun dbreaking transcription and analysis project cited by man y scholars is

Thomas Owens's 1974 dissertation, Charlie Parker: Techniques of Improvisation,

which documents Parker's repertoire of musical motives and discusses the rhythmic and

harmon ic context in which he used them during his im provisations. This project laid the

foundation for countless books, dissertations, and articles that use transcription as the

focus for style analysis of jaz z imp rovisatory pr actice.

Systematic scholarly analysis of jazz music is a relatively recent practice; doctoral

study of the subject is on the rise, but this is also a recent trend. Carol L ouise Hee n states

in the literature review for her 1981 dissertation,

Procedures for Style Analysis of Jazz: A

Beginning Approach, that style analysis can be ".. .effective in tracing relationships and

major trends as well as describing and analyzing th e musical facts."

93

But she also states

that it "has been rare in jaz z," and that it "remains (as of 1981) one of the least prevalent

forms of jazz study."

94

Heen mentions six books w ritten prior to hers that employ style

analysis methodology, and of those, most favored style description over transcription and

musical examples.

95

This is consistent with publisher s' aim at broad appeal; style

descriptions can be read and appreciated b y anyo ne, while in depth analysis is more

difficult to market. The Ow ens dissertation, a document cited by Heen which relies

heavily on transcription is only available as a dissertation. Heen does not m ention

92

Thomas Owens, "Charlie

Parker.

Techniques of Im provisation." Ph.D. Dissertation, (University of

California, Los Angeles, 1974).

93

Carol Louise Heen. Procedures for Style Analysis of Jazz: A Beginning Approach. Ph.D. dissertation,

(University of Minnesota, 1981), 15.

94

Ibid., 15.



33

transcription and analysis projects appearing in periodicals. Dow nbeat mag azine has

published articles dating to before 1981 featuring transcription and analysis,

96

but to

H een 's credit they are few in number. Heen points out that the rarity of style analyses in

jazz (again as of 1981) is indicative of the "absence of problem-solving m ethods for style

analysis within the jazz literature."

97

Fortunately for those o f us currently adding to the canon of jazz style analyses, in

the years since her thesis, Heen and others have mad e significant contributions both in

the area of problem-solving method s for jazz style analyses, and in the area of jazz style

analysis

itself.

It will be helpful to examine som e of these in order to clarify how the

transcription and analysis portion of this document is organized.

In

Procedures for Style Analysis of Jazz,

H een chose to tie her procedures to those

already proven effective in musicology; Jan LaR ue's 1970 book, Guidelines for Style

Analysis, n ow in its second edition and a common framework for analysis in western art

mu sic, was her prima ry mo del. It established sound, rhythm, harmony, growth, melody

QS

and text influence as the "basic compon ents for analytic hypo theses." LaRu e then

broke dow n each of these basic components further by listing a set of parameters within

each that would form the basis for discourse on style.

Heen "expands and develops"

99

L aRue's m ethod for jazz b y using melody,

rhythm, harmony, timbre— texture, and form and growth as her five basic compon ents.

(Timbre and texture were combined in one component as was form and growth. One

might assume that something related to LaRu e's "text influence" could be included for

96

97

Heen. 2.

Andrew White. "Coltrane Transcribed," Downbeat July, Vol 46, No. 13 (1970): 45-47.

Jan LaRue. G uidelines for Style Analysis, Second Edition. (M ichigan: Harmonie Park Press, 1992) Inset.

"Heen. 38 .



jazz music that uses vocals if need be). Heen, like LaRue, then breaks down and expands

each basic component to include parameters that would form the basis for discou rse.

How ever, each com pon ent's selection is based on its relevance to jazz style analysis.

Heen clearly shows that jaz z can be analyzed in much the same fashion as other styles of

western art music.

Her melod y compon ent is divided into seventeen different param eters including

substitution by im provisation, length of melod ic units and their relationships, mo tion and

range, and more; three of these melod ic parameters, improvisation, emb ellishments, and

riffs are broken down even further.

I0

°

The other four parameters are treated w ith equal

attention to detail.

Heen demo nstrates the effectiveness of this process by applying it in two

contrasting test cases. In the first, she "test(s) the possib ilities for com parison of mu ltiple

versions of the same piece of music recorded b y various performers,"

10 1

by comparing

and contrasting ten different recordings of the famous jazz tune "D ippermouth

Blues/Sugarfoot stom p" in order to "explore style change, and musical invention and

retention in a standard jaz z tun e."

102

In the second test case, Heen explores the piano style of Count B asie. This case is

more relevant for comparison to a single artist project such as this one, because its

"purpose w as to apply the analytical guidelines in order to reveal basic p erformance

vocabulary of a single instrumentalist."

10 3

She does this quite effectively in her eighteen

page experiment. Her discourse, based on analysis of 120 recordings by Basie and his

100

Ibid., 35, 36.

101

Ibid., 84.

102

Ibid., 80.

103

Ibid., 120.



35

band, starts with a short discussion about Count B asie's " understated" style and the

hypothesis that he "had a performance style and vocabulary that was uniq ue."

10 4

Under

the Heading "Melody" she describes Count Basie's famous economical approach: "he

had a high proportion of rests between no tes and often played a 'on e finger' m elody w ith

the right hand, very sparsely interspersed w ith block chords with the left h and."

10 5

She

then discusses this sense of econom y as it applies to the notes selected in his

improvisations, and follows this with a transcription that clearly demon strates the style

points discussed thus far.

Her discussion of Count Basie 's style is not ground breaking. Any one who has

listened to him extensively would likely agree with her findings. W hat is effective is that

she supports her statements w ith musical examples rather than simply describing them

and mov ing on. Heen does not address all seventeen melodic parameters mentioned

earlier, because it is only necessary to discuss those parameters relevant to a particular

performer. Heen ad dresses this point this by mentioning that "every point listed m ay not

be required for every a nalysis" prior to outlining her "Ra nge of Factors for the Style

Analysis Process."

106

There is further relevant ground-work beyond Heen. As mentioned earlier,

Thom as Ow ens wrote a landmark dissertation in 1974 titled

C harlie Parker: Techniques

of Imp rovisation. This is one of the few, and certainly the most in-depth style analyses

produced prio r to He en's work that uses transcription and analysis as the basis for an in-

depth style study of jazz m usic. In it Owens isolates approximately 100 different

principle motives from 250 transcriptions of Charlie Parker solos. Owens shows that

104

Ibid., 124.

105

Ibid., 125.

106

Ibid., 35.



Parker applied these motives formulaically in his improvisations according to the key and

harmo nic plan of each song. It is the identification of these motives that is the crown ing

accomplishment of Owens's project which has provided the foundation for many other

similar projects since. Some feel his conclusions tended towards oversimplification,

showing that Parker did little more that string together melodic form ulas.

10 7

While

Ow ens's findings in 1974 are thought provoking and true, they failed to show w hy

Parker's improvisations were so interesting.

Enter Henry Martin, author of Charlie Parker and Thematic Improvisation

published in 1996, a document that benefits greatly from Ow ens work, which p rovides

"an important companion" to Martin's "more thematically oriented material."

10 8

In large

part through a further exam ination of Ow ens work, M artin show s that the brilliance of

Charlie Parker lay not in the formulas used by Parker, but rather in "how Parker

transcends the mechanical application of formulas: and how in m any instances, their

effectiveness lies in unexpected m otivic connection to the original thematic m aterial."

109

Martin names seven types of thematic patterns or melodic features such as "Neigh bor

Prolongation" and "Characteristic Rhythm(s)"

11 0

that are often used in combination w ith

each other. Identification of these can illuminate thematic relationships not clearly

apparent from active listening alone.

Martin also points out that repetition of formulas or groups of notes at different

times in different songs by an improvising musician "does not preclude that formula from

107

Henry M artin. C harlie Parker and Thematic Improvisation. (Lanham, Maryland: Scarecrow Press,

1996),

4, 5.

108

Ibid., 5.

109

Ibid.

110

Martin, 32,

3 3.

Neighbor P rolongation is where a pitch relevant to a thematic relationship is prolonged

through the use of neighboring tones; Characteristic Rhythm s can also be helpful in identifying

thematic patterns.



being all or partly them atic." He further proclaims that while determining the thought

process of great improvisers can be helpful to the aspiring mu sician, "guessing the

intention of the soloist" in the case of complex thematic relationships can be " mo re

troublesome than enlightening."

Martin also uses Schenkarian an alysis, and while the application of the

Schenkarian method is not within the scope of this project, Mar tin's use of it and H een 's

adaptation of L aRue provide exam ples of the effective application to jazz of analytical

techniques com mon ly used in mo re traditional genres of Western art music.

Using a combination of the above described analytical method s by Heen, O wens,

and Martin as models, this project provides an analysis of the performance style of Tubby

Hayes at the height of his career using a four step process. Step one is the com plete

transcription of selected solos from Tubby Hayes and Clark Terry:

The

New York

Sessions.

W hile the term "transcription" can have different meaning s within the overall

field of mu sic, in jazz , transcription g enerally refers to the process of copying a jazz solo,

or in some cases complete arrangements, from a recording. Transcription in this sense

can contain either or both of the following elem ents: 1. To listen extensively to a

recorded improvised solo, or sometimes a particular interpretation of a melody o r an

arrangement, and "transcribe" it onto paper. This is usually done to preserve the

transcription for further stud y. 2. To listen to a recorde d imp rovised solo and learn to

perform it on an instrument such as a saxophone, trumpet, flute, etc. This second elem ent

often involves mem orization in an exercise frequently used by students of jazz

111

Ibid., 37.

112

Ibid, 37.



38

performance in order to assimilate jazz style and language through m imicking master

performers. The transcriptions done for this project will include both of the above

elements. These transcribed solos are provided in their entirety in the appendices 1-4.

They have been learned on the tenor saxophone in order to obtain information abou t the

idiosyncrasies associated with Tub by Hay es' style of playing that instrument.

Since

Tubbs in New York/The New York Sessions

represents Tubby Hayes at his

finest, and since his style changed little throughout his career, the tracks selected for

transcription, "You for M e," "Airegin ," "Pint of Bitter" and "So on," provide an effective

cross section of Tub by Ha yes' o verall performance style. "You for M e" is the first track,

and up tempo. Its unaccom panied introduction ushers in the album with virtuosic fervor

and the chord changes include an abrupt half-step change in tonality. "Aireg in" is an

excellent example of H ayes navigating chord changes and tona lity shifts in a fast

harmonic rhythm at a fast tempo. This is a cornerstone of bebop style and a tradition

drawn upon in jazz performance to this day. "So on" features H ayes playing on a classic

jazz standard at a medium swing tempo , and "Pint of Bitter," while not in 12 measure

blues form, provides an excellent exam ple of Hayes improvising in a harmonic

environment heav ily influenced by the blues, another cornerstone of jazz style.

Step two in the process of analyzing the performance style of Tubby H ayes is the

selection and identification of significant and relevant formulas, patterns, and motives

employed by Hayes in his improvised solos. Those that serve a melodic function are

categorized according to defining intervallic relationships, and those with a rhythmic

function are categorized by related rhythms. This step uses Thom as Ow ens's work as a

model.



Step three is the process of exam ining the transcriptions as a whole in addition to

the significant formulas, patterns, and motives already identified for elements of thematic

unity that contribute to Hay es' overall effectiveness as an improvising saxophonist. This

step uses Henry M artin's work as a mo del, and is aided by placing the transcriptions in a

format resembling a musical score. Each chorus occupies one "part" in the score. This

layout is convenient when comp aring and contrasting consecutive approaches to specific

places within the form o f each song. For instance, if one was only interested in

comparing and contrasting each pass a player makes on the turnaround in a specific

twelve measu re blues, they could arrange the last four m easures of each chorus in a solo

in this format in order to examine how each pass relates to the others. This approach has

proven valuable in examining the com plex multiple chorus solos of Tubb y Hayes.

The fourth step in the process is a summ ary of the performance style of Tubby

Hayes based on observations generated from steps one through three as well as extensive

listening to other recordings of Hayes and examination o f other Hayes related material

discussed in the chapter two abo ve. This summ ary is outlined, discussed, and supported

with musical exam ples supplied from excerpts from the solo transcriptions. The relevant

parameters that form the basis for the style summ ary are selected from H een 's "Rang e of

i n

Factors for the Style Analysis Proc ess." The musical thought process of Tubby Hayes

is discussed w hen it is relevant. In some cases, mo re than one thought process might be

at work; some discussion of the different possibilities will follow, but no attempt is made

to guess the soloists intentions.

Since Owen s and Heen, transcription books devoted to m any prominent figures in

jazz history have become com monp lace. The publishing company Hal Leonard has an

113

Heen, 35.



expanding series titled Artist Transcriptions that includes over fifty books such as John

Coltrane Solos by C arl Coan and Ronny

Schiff,

114

and The Best of Joe Henderson by Jim

Roberts.

11 5

The book s in this series provide accurate transcriptions with little or no

analysis. The Jazz Master Series is another example of expanding collection of

transcriptions devoted to jazz masters, but with the added benefit of an alysis. Benny

Goodman'

16

is one such title that with thirty com plete transcriptions of the renowned

clarinetist followed by a short style description based on analysis of selected solo

excerpts.

The availability of in depth analyses based on transcription has also expanded,

although not to the extent of transcription alone.

Coltrane: A Player's Guide to His

Harmony b y Walt Weiskopf and Ram on Ricker

11 7

is an excellent examp le of this kind of

publication. This book focuses entirely on analysis, and while most certainly based on

extensive transcription of the music of John Coltrane, it provides no note-by-note

transcription of any kind within its pages. Instead, it describes John Coltra ne's approach

to reharmonization and also provides exercises and etudes that will help an aspiring

improviser assimilate this aspect of Co ltrane's style into their own im provising.

Keeping w ith jazz p edagogy, there is an expanding body of work related to

teaching improvisation that draws upon transcription and analysis. The Study of Sonny

Rollins: A Musical and Historical Perspective

by David Baker, '

18

and

C reative Jazz

114

Carl Coan, and Ronny

Schiff. John Coltrane Solos.

(M ilwaukee: Hall Leonard, 1995).

115

Jim Roberts.

The Best of Joe Henderson.

(Milwaukee: Hall Leonard, 1996).

116

Stan Ayerhoff.

Benny Goodman

(New York: Amsco, 1980).

117

Walt Weiskopf and Ramon Ricker.

Coltrane: A Player's Guide to His Harmony.

(New Albany,

Indiana: Jame y Abersold, 1991).

118

David Baker.

The Study of Sonny Rollins: A M usical and Historical Perspective.

(M iami FL: Belwin,

1980)



41

Improvisation by Scott Reeves

x

are excellent examp les. In the Rollins study Baker

provides co mplete transcriptions of nine different Sonny Rollins recordings along with a

series of exercises based on patterns extracted from the solos. David Baker has

published a great deal of jazz pedagogy related m aterial, and mu ch of it uses transcription

and analysis. Scott Reeve s takes a wider scop e and features a different artist and

transcription as exam ples in each chapter devoted to a specific improvisational concept.

With regard to transcription and analysis, it is important to note the following.

Wh ether written dow n or not, transcription is an excellent tool for ear training and is

practically essential for good jazz education. This is particularly true in tod ay's

educational environment where oppo rtunities for aspiring mu sicians to play along side

mo re experienced players are less num erous than they were in the middle of the last

century when jaz z was in its heyday. Ma ny schools with "jazz prog ram s" simply have

no accomplished jaz z performers for their students to emulate. Fortunately, recordings of

accomplished jaz z performers are easy to com e by, and they can be a great tool. Jazz

students at all levels should be encouraged to transcribe from recordings in order to learn

the subtleties involved with jazz performance, becau se it is the process of transcription,

and not the finished p roduct that is the most valuable. The act of transcription is an ear

training exercise that develops the kind of sustained, concentrated listening skills

necessary for jaz z performance. The mo re efficient one gets at transcribing, the better

one gets at presenting im provisational ideas of their own from the m inds ear so to speak.

It equips a performer to engage in the meaningful musical discourse that is jazz m usic.

Despite the fact that the real value for jazz performance students lies in

transcription itself, the byprodu cts of such study such as written transcriptions or a bank

119

Scott D. Reeves. Creative Jazz Improvisation. (Englewood Cliffs New Jersey: Pretice Hall, 1995)



42

of jazz motives drawn from those transcriptions still hold value. A thorough analysis of

transcribed jazz solos can yield further information providing insight into th e

improvisational process by highlighting procedures and/or thought processes that are

unique to each performer. This is the primary goal of this document and the thousands of

docum ents like it available today.

A quote from Henry Martin's Charlie Parker and Thematic Improvisation will

help to explain the difficulty with presenting transcriptions in a formal setting: "since a

jazz improvisation is not normally notated by the player who performed it, its

transcription is an analytical statement -a n interpretation of what w as played, an

analytical first stage, or a 'read ing ' of the solo. A transcription acknow ledges the

analyst's point of view , reveals theoretical agenda, m usical background - all the usual,

but significant predispositions." He discusses the difficulty with interpreting and

distinguishing between harmonic disagreement among performers, harmonic

modification of original chord changes both in arrangements and by accompan ying

chordal instruments such as piano, or guitar, and harm onic modification on the part of the

soloist. Martin continue s: "In up-tempo improvisation, it is often im possible for the

soloist and rhythm section to anticipate each othe r's spontaneous m odifications or

omissions of prevailing harmo nies; hence, changes that remain close to the model

established in the head w ill usually work well for purposes of notation."

12 1

Martin goes

on to discuss how Parker ignores changes in some places creating harmonic clashes.

There is also the problem of whether or not to present the transcriptions transposed as

120

Martin, 5-7.

121

Ibid.



43

they would b e read on the instrument, in this case the B-flat teno r saxopho ne, or in

concert key.

Since, this project is primarily pedagogical, and aimed at saxop honists; the

transcriptions are presented transposed up a major ninth to key o f Bb as they would be

read by a tenor saxophonist. Furtherm ore, the changes accompanying the notated

improvised solos are those that are played du ring the performance of the head.

Interpretation of the transcriptions is limited to Tubby Hay es and make s no attempt to

interpret the performance of the rhythm section beyond an attempt to discern the chord

changes played during the melody.

I have also decided to exclude forms of expression such as accents, phrase ma rks

and dynamics from these transcriptions. The vast majority of published transcriptions,

19 9

including most of those consulted for this project, exclude these mark ings. This is in

part because in a jazz transcription, particularly a Tubby H ayes transcription, accuracy

would warrant som e kind of expression mark on nearly every note. W hen used this often

these marks become cumbersome and "clutter the notation."

123

122

The published transcriptions consulted for this project that exclude expression marks include those by

Henry Martin, Carol Louise Heen, Carl Woideck, George Werem chuk, John Alexander, those in the Jazz

Master's series published by Am sco, and those found in the Artist Transcription Series published by Hal

Leonard.

123

Martin, 6.



44

CHAPTER IV

TUBBY HA YES, THE BOPPER

In the original liner notes for

Tubbs in New

York, Tubby Hayes is described as "an

overwhelm ingly exuberant player, firmly rooted in the bop tradition."

12 4

It is fitting that

liner note author Stanley Dance used the term "b op " without distinguishing between the

bebop style pioneered b y Charlie Parker, Dizzy G illespie and others in the 1940s, and the

hard bop style popularized in the 19 50's by musicians such as Clifford Brown and Art

Blakey. Though it was comm on only amo ng jazz m usicians to avoid this distinction at

the time, it was appropriate for Dance, a writer, to do so as well, because Hay es

performance style includes elements of both bebop and hard bop.

W hile Hayes certainly had a style of his own, the influence of the bebop

pionee rs he idolized is significant. Ch arlie Parke r was his favorite saxop hon ist; a fact

documented during a 1966 interview with the BBC when Hayes reminisces about staying

up late and forgoing his hom ework at the age of fourteen in order to listen to radio

broadcasts of Parker performing at the Paris Jazz Fair.

12 6

Certainly Ha yes' ability to

navigate fast harm onic rhythm at a fast tem po, and his approach to rhythm reflect beb op

influence as well.

124

Dance, 4.

125

Mark

C.

Gridley.

Jazz Styles: History and

Analysis.

(Upper Saddle River New

Jersey:

Prentice Hall,

2003), 186.

126

Spillett. The Long

Shadow,

8.



45

On the other hand, H aye s' occasional rhythm -and-blues-like riffs, his relentless

hard-driving sw ing feel, and the name chosen by H ayes and his fellow band m ates for

England 's most prized jazz group of the 1950's, The Jazz Couriers, all reflect the

influence of the hard bop style popularized b y the famous group led by Art Blakey, The

Jazz Messengers.

Certainly, anyone w ith an ear for jazz and sufficient know ledge about the style

would place Tub by Hay es among bop m usicians, but this classification can be

documented. As mentioned in chapter three, Thom as Owens showed that the use of

formulas and devices represents a significant com ponent of P arke r's style, and because

Parker is the quintessential beb op m usician, it follows that th e use of formulas and

devices should also represent a significant compo nent of bebop style in general. Ergo,

one can examine Tu bby H aye s' music for the use of formulas and devices in much the

same way as Ow ens did with the music of Charlie Parker.

It should be noted that there is mu ch mo re to bebop style than just the application

of formulas and de vices. These aspects of Tubby Hay es style are addressed later in this

document. Furthermo re, it is not the object of this project to replicate the work that

Owens did with Parker 's music by providing a comp rehensive catalogue of the formulas

and devices employed by H ayes. How ever, an examination of the solos transcribed for

this project will establish that Hayes used formulas and devices in much the same w ay as

Parker and presumably many other bebop musicians.

Owens showed that formulas and device's can be found in a variety of musical

settings, but perhaps the m ost obvious place to begin looking for them is in up-tem po

selections. This is because improvisers are more likely to employ what they know, or



what they have practiced with less variation when playing very fast. In other words, the

demands placed on th e performers in up-tempo situations leave less room for exploration.

Consequently the artist is more likely to repeat ideas from chorus to ch orus, thus

illuminating passages that are formulaic. This is particularly true when thing s are

complicated by a series of frequent tonality shifts.

Hayes w as famous for playing fast, and Tubbs in New York/The New York

Sessions is replete with it. There are two tracks that feature him playing at exceptionally

fast tempos, and h e frequently plays extended do uble-time passages on the other tracks.

Of the two faster tempo tracks on the album, the Sonny Rollins C omp osition

"Aireg in" was selected for transcription, because in addition to being a particularly swift

selection at 280 beats per m inute, it features H ayes im provising at a fast harmo nic rhythm

with frequent tonality shifts. This harmonic challenge occurs in the B section of

"A ireg in's" ABAC song form. The song form of "Airegin" is further complicated by

asymm etry. At 36 mea sures, the form is unusual when compared to the 32 mea sure

AA BA , or AB AC song forms found in countless other jaz z standards. The B section of

"Airegin" is twelve m easures in length, and the A and C sections are eight measures

each.

Tricky as it is, Tubby H ayes handles "A iregin" with ease, playing a seeming ly

endless series notes in his four-chorus improvised solo pausing occasionally only long

enough to take a breath. In total, all of the rests in the solo amou nt to only about 15

measures out of the 144 measures in the solo. After solos by the vibraphone and piano

Hayes then trades fours with the vibraphonist before playing the melody for the last time

and finishing the song.



47

Hayes does repeat himself during his torrent, and this provides an opportunity to

identify some of the formulas he

uses.

Examples

1

through 4 are excerpts from four

different choruses from the first half of the B section of "A iregin." Notice the similarity

between them. In each, Hayes plays the same series of notes and the same rhythm in the

first measure of the IImin7, V7, IMaj7 sequence in the Key of

D-flat

(concert B

enharmonically).

Example 1: 1

st


from

"Airegin" (1961)

0MW7

m&

\S

ta

QMA*7

9

PU

A r

v*

,nd

Example 2: 2" improvised chorus, B section, measures 3-7, from "Airegin" (1961)



48

i th

Exam ple 3 :4 improvised chorus, B section, measures 4-7, from "Aire gin" (1961)

A 7 0MM7

M W 7

gMW7 n7 0MA47

/#/

g7MJK7

*b

0 ^ 1 7

Example 4: 1

st

chorus trading fours, B section, measures 1-5, from "A iregin" (1961)

QMIK7

m^

£ i£

£ M I K 7

A7

i^rrrr*cj

M

/»<

0MA17 ^ M W 7

A

f r

7

^ i

r

p

r

^

r

t[

r

pp|^r ^idrlr y"> ^

0^MM7

f

1

Js=

Notice that in examples

1

through 3 the identical phrases continue w ith the V7

chord 5

th

and 3

r d

acting as non-chord tones in the tonic measure (D-flat M aj7). The chord

5

th

prepares the 9

th

of the tonic, while the

3

rd

o f the V chord is suspended on th e first beat

of the tonic measu re resolving up to the tonic chord 3

rd

on beat two. Exam ples 1 and 2

continue identically for two m ore measures through the next IImin7, V7 , IMaj7 series in

C resolving on the tonic chord w ith a slight variation between the two examp les.

Further examination o f the phrases in examples

1

through 4 reveals that each is

made up of shorter motives that are linked together. This notion can be supported b y

isolating the motives and then identifying identical and related motives found in different

contexts elsewhere in the transcriptions.



Isolated in example 5 below is the motive found on beats 1,2 and the first half of

beat 3 in the IImin7, V7 pattern in Db shown in examples 1-4. This motive and related

ones represent one of the most pervasive devices used by Tubby Hayes.

Example 5: 1

st

improvised chorus, B section, measure 3, from Airegin (1961)

34*

£PMIH7 1

Likely ignoring the IImin7 chord, Hayes plays the root of the V chord on the

downbeat of 1, plays an upper neighboring tone on the and of 1 before returning to the

root and descending through the 7

th

on the downbeat of 2 to the 13

th

on the and of 2 . The

defining aspect of this motive is the upper neighboring tone and descent. Notice the

similarity between example 5 and beats 1, 2, and 3 of the 2nd measure in example 4,

where Hayes starts the pattern on the

l

x

of a Cmin7 chord, this time using the root as the

upper neighboring tone before playing a descending arpeggio on chord tones 5, 3, and 1.

Similarly, in measure

1

of example 1, Hayes plays the same motive starting on the

Emin7 chord root and uses a chromatic upper neighboring tone before playing the chord

7

th

on beat two followed by a lower chromatic approach to arrive on the C-sharp, or 3

rd

of

the A7 chord on beat 3.

H ayes

plays this motive over 60 times in the four selections transcribed for this

project. Of these, most start on beat one with the root of the respective chord, but there

are some exceptions, such as his use of the pattern starting on a chord 3

rd

or 7

l

as shown



50

above, occasional use the pattern starting on beat 3, and a couple of instances where he

plays the pattern starting on beat 2 or 4 .

In example 6 below, another motive frequently u sed by Hayes is isolated from the

larger excerpts in examples 1-4.

Example 6: 1

st

improvised chorus, B section, measure 3, from "Aireg in" (1961 )

7 Wr

This motive is a simple augm entation of the sixteenth-note duplet that occurs on

the offbeat of the first beat in the motive found in example 5. The triplet subdivision of

the offbeat

12 7

allows for smooth voice leading to the chord 5

th

by way of a chromatic

passing tone on E. The added passing tone is a subtle difference that would be hardly

worth m entioning if it were not for the fact that Hayes frequently strung these two related

motives together such as they are in examples 1-4, and in example 7 below .

Notice in examp le 7 how Hayes strings the two related mo tive together twice

inside of five m easures, the first tim e starting on beat 3 in measure 95 and the second

time starting on beat 1 in measure 98.

127

In the transcriptions, this figure can also be seen notated as four sixteenth notes rather than the eighth

plus a sixteenth note triplet. The four sixteenth notes are often used when the figure is tied from a previous

note. The shortened offbeat associated with swing feel makes the difference between the two figures

negligible at medium-up and fast tempos. Both figures can be interpreted as the same figure rhythm ically

in all of the transcriptions exce pt "Pint of B itter," which has a com paratively slow tempo.

128

Ibid.



51

,nd

Exam ple 7: 2 improvised chorus, measures 22-26, from "Yo u for M e" (1961)

$M7(ty

AMM7

$ M 7 W

^-^H+

^

r?\

Notice also in example 7 that Hayes uses the motive from ex ample 5 by itself two

additional times for a total of four inside of five measures. This underscores the

perva siveness o f the device. In fact, listening for this m otive can help identify th e

saxophone playing of Tubby Hayes by ear.

Another such m otive, is isolated below in example 8 on beat two, in measure 50

of example 1 and measure 86 of example 2 above.

Example 8: 2

n d

improvised chorus, B section, measure 6, from "Aireg in" (1961)

QMIH7

M

i£X

m

i t *

7

.

M

Here following another m otive closely related to the one shown in example 6

above, the IImin7 chord tones 3 , 5, 7, and 9 or F, A, C, and E of Dm in7 are played in an

ascending sixteenth note arpeggio followed b y a descending line that begins with a m inor

second. Hayes plays this line quite frequently too. In fact, exam ple 8 shows only one of

its two appearances in the phrase shown in example 1.



52

The first appearance is isolated below in exam ple 9. Here V7 chord ton es 3, 5, 7,

and 9 or C-sharp, E, G and B are played in a series of eighth notes starting on b eat three.

Notice also that this motive is linked to yet another example of the motive shown in

example 5.

Example 9: 1

st

improvised chorus, B section, measure 2, from "Airegin" (1961)

Though Hays w as certainly aware of this kind of repetition, it is impossible to tell

with absolute certainty whether or not he was conscious of it while soloing. Probably

not, but because he played the exact sam e sequence of notes in the exact sam e place in

the song form four times in one improvised solo, and because w e see the widespread use

of other identical and related motives, it is logical to assume that a significant portion of

Hayes improvisations took shape in advance of perform ance.

It is likely that som e of the devices came about through h abitual use, while o thers

could have been consciously worked ou t by Hayes when practicing for use in particular

situations such as the IImin7, V 7, 1 series in the key of Db shown in exam ples 1-4. It is

also likely that a good deal of the repetition in H ayes improvisation involves a

combination of these two scenarios.

In some places, Hayes may have been elaborately ornamenting the melody.

Another examination of examples 1-4 reveals that the phrase shown in the examples also

includes the notes of the melody at that point in "Airegin." Exam ple 10 shows the first

phrase from example

1

with the m elody notes enlarged.



53

Example 10: 1

st

improvised chorus, B section, measures 4-8, from Airegin (1961)

LM7 1 0 ™ A « 7

I LJ—U

#<

0*41*7 , A7 CMAJ7

Again, it is not possible to know exactly what Hayes was thinking when

performing, but the interesting thing is that the patterns perform a role beyond their use

by Hayes as a means to help make the changes. The identical and related patterns link

the phrases and motives to each other, and common notes often link the phrases to key

notes in the melody. Repetition from song to song, and from chorus to chorus helps to

unify the style of Hayes as he employs patterns that either highlight melody notes as

demonstrated above or as is demonstrated later, exploit strong chromatic voice leading

inherent in the harmony of a song. This is the kind of thematic unity that is discussed in

depth by Henry Martin in Charlie Parker and Thematic Improvisation, and it contributes

to the overall effectiveness of Tubby Hayes' solos.



CHAPTER V

THE PERFORMANCE STYLE OF TUBBY HAYES

Wh ile the use of formulas is a comm on element associated w ith jaz z m usicians

who are "firmly rooted in the Bop tradition," there are other characteristics to consider

in a style analysis. Recall that Carol Louise He en's Procedures for Style Analysis of

Jazz: A Beginning Approach lists a range of factors that include melody, rhy thm,

harmony, timbre, texture, form and growth. Harm ony, rhythm, and m elody have been

discussed to a small deg ree already as part of the discussion above about the use o f

formulas. These parameters are explored further in this section. Heen groups timbre and

texture together as one category which will serve to provide param eters for a discussion

about sound. Similarly, she combines form and growth in one category which will form

the basis for a broader discussion about how Hayes constructs solos.

Sound: Tone Quality and Texture

Tone quality or timbre is one aspect of jazz performance that cannot be supported

with written musical examples. Som e composers indicate specific intentions with regard

to tone quality such as sub-tone, and laid back et c. .., and som e even have invented their

own type of nomenclature to indicate timbre,

13 0

but to date there is no standardized

system for timbre. Consequently, wh ile transcriptions are effective for analyzing how the

Dance, 4.

Bruno Bartolozzi. New Sounds for

Woodwind,

2

nd

ed. London: Oxford University Press, 1982.



55

notes in a performance relate to each other, they are not effective tools for a discourse on

timbre.

One could obtain a recorded sample and analyze it with an oscilloscope for the

relative levels of the harmonics or overtones present in the sound of Tubby Hayes. The

harmonic signature could then b e compared to that of other saxop honists, but that would

not put the reader any closer to understanding the cum ulative affects of those frequencies,

or simply what it sounds like.

Though the hum an ear is capable of distinguishing between m inute differences in

harmonic signatures such as those that differentiate one saxophonist from the next, it is

interesting that in order to describe these differences, language is forced to borrow

descriptive terms like bright, dark, sm ooth, round, brittle and edgy, which are generally

used to describe tangible objects. Unfortunately, there is no standard to show how these

borrowed descriptive terms translate into the harmon ic signatures they are used to

describe.

Even so , an attempt to entirely avoid the use of descriptive terms like those abo ve

would be difficult and unnecessary. They can be helpful, but since these descriptive

terms are more often used to describe things less abstract than sound, a comparison to a

better-known tenor saxophonist from jazz history will help clarify.

Much like his overall performance style, and like other saxophone greats of the

time, Tubby Hayes had a sound all his own. But if one were to seek another mo re famous

jazz saxophonist with a similar sound for com parison, Stan Getz might be the best choice.

Hayes had at times a light and airy timbre similar to the one that mad e Getz famous. This

can only be confirmed by listening to Hayes recordings, and just about any will do. In



56

order to hear the similarity, pay close attention at the beginnings and ends of ph rases

where he is likely to be holding a note, particularly in places w here Hayes is playing

lyrically such as in the melo dy of "So on." It can be difficult to find long notes in his

improvisations.

The similarity in sound between Hayes and Getz may have more to do with two

mo re characteristics that include a number o f variables that contribute a great deal to the

overall sound of a saxophonist. The first o f these characteristics is tone bending.

Variables include choice of notes to bend, how far to bend them , and for how long.

Hayes often starts phrases and inflects notes with a specific type of tone bend called a

scoop. A scoop is when a saxophonist starts a note low w ith a loose embou chure and

then slides up by g radually increasing lower jaw pressure until the desired pitch is m et.

This type of inflection can contribute a great deal to the overall sound of a saxophonist.

The most famous examp le is Johnny Hod ges who m ade a career out of his unique

approach to scooping which was significantly mo re prominent than the more subtle one

used Hayes. It is possible that Hayes inherited his scoop from Getz, because they are

similar to each other in range and duration.

The second characteristic of sound shared by H ayes and G etz lies in their

approach to vibrato. Vibrato is a method o f ornamentation employed to some degree by

virtually all saxophonists. Hayes and G etz both used what is called terminal vibrato, a

vibrato that is applied towards the end of a held note, frequently at the end of a phrase.

Terminal vibrato was very comm on am ong mid-twentieth century jazz saxophonists, and

it is still used although to a lesser degre e. Th ere are variables associated w ith vibrato that

contribute to individuality including speed, width, and point of application. Simply put,



57

musicians ch oose how w ide, how fast, when and w here to apply vibrato, and these

decisions contribute to individual sound. Term inal vibrato adds more variables including

where in the sustained pitch will it start and for how long will it be applied. So, while

terminal vibrato was quite comm on am ong jaz z saxop honists, it did not necessarily

equate to a similarity in sound amon g all who used it.

In the case of Tubby H ayes and Stan G etz, the variables were similar enough that

it did contribute to a likeness in their sounds. They both used a slow narrow terminal

vibrato that was applied just as a longer note began to decay. This combined with the

occasional scoop , and the light airy timb re gives their sound a laid back relaxed affect.

There is docum entation supporting the influence of Getz on Hayes. Accord ing to

Hayes himself, "everyone was trying to imitate Getz"

13 1

during the early 1950s when

Hayes was young and impressionable and learning how to play. This is an easy statement

to believe. Getz was world famous by then. There were thousands of saxophonists

listening to and em ulating him in the 1950s.

Rhythm

Despite the similarity in their sounds, Hayes and Getz had overall styles that w ere

mark edly different from one another. This is due in large part to each m usicia n's

approach to rhythm. W hereas both players could play very fast, Getz complimented his

laid-back sound w ith an equally smooth rhythmic vo cabulary; Hayes provided a contrast

to his relaxed sound with syncopation and accent, and he often displayed his virtuosic

technical play ing. Getz displayed virtuosity less frequently.

Spillett, The

Little Giant.

Spillett found this quote from an interview of Tubby Hayes by John M artin in

1960.



58

Exam ple 11 below shows the eight measure introduction of "You for M e," which

is the first track on the album Tubbs in New York/New York Sessions. Hayes plays this

eight measure barrag e of notes unaccom panied, w hich is fitting, because it his first salvo

ushering in the album and Tu bby Hayes to an American audience. It sets an aggressive

rhythmic tone that is maintained through out the rest of the album. Hayes plays this

unaccom panied solo introduction in time setting the tempo for "You for M e" at 215 beats

per minu te, although after the rhythm section enters at measure nine, the track gradually

slows and eventually settles in at around 208 beats per m inute.

The exam ple is marked to show how Tubby Hayes accents. All accented notes

indicated in this excerpt are tongued. In addition, other notes are marked w ith a "T " to

show w here Hayes used his tongue to create an emphasis that was slightly less than that

applied to the accented notes but more than that of the unmarked no tes. This essentially

results in two levels of accents.

Example 11 : introduction, measures 1-8, from "Y ou for Me " (1961)

^ ffiHif> ufff f f*r i^ f r r r i r ^ j j



The passage, consisting of two phrases each mad e up of a series of elided

motives, provides a samp le of the type of rhythmic variety typical in Hayes

improvisations. There is a balance between duplet, triplet, and quadruplet subdivision of

the beats. The two levels of accent, fast tempo, and frequent juxtapo sition of duplet and

triplet subdivision are rhythmic elements of H aye s' performance style that help to create

an overall affect of forward m otion which is typical of bebop style.

Hayes uses sixteenth notes only after the midpoint of the introduction has passed

in bar 5. Add ing the additional subdivision in the second half serves to build intensity as

the close of the introduction approaches.

Notice also in exam ple 11 the use of the quadruplet on beat two in bar 7 as part

of a 3, 5, 7, 9 formula, and the two sixteenth n ote neighboring tone m otives strung

together in bar 5, both discussed earlier in the section related to formulas.

There is only one eighth-note rest in the excerpt. In general, Hayes left very little

space in his solos. W hen he did, it was usually only long enough to take a breath. In his

five chorus solo on "Y ou for Me," H ayes only rests for about 15 measures out of a total

of

162.

These rests come as one or two beats of rest between long phrases constructed

rhythmically in much the sam e way as the two shown in the example above . Recall that

he left only about 15 measures rest in his solo on "Airegin" as well. "So on" and "Pint o f

Bitter" both share this quality as do the vast majority of Hayes solos that can be found on

the various recordings listed in the discography.

Notice the tonguing pairs in measures 1, and 4 as well as the four eighth-notes

tongued in succession in the penultimate measure of the introduction shown in exam ple

11 .

This indicates skill in this area. De spite the fact that Hayes makes it sound simp le,



any saxophonist w ill confirm that it is not easy to tongue swing consecutive eighth notes

at 215 quarter-note beats per minu te.

Finally, each of the two phrases starts with a syncopated entrance. The first starts

on upbeat of

3,

and the second on the upbeat of 1. Hayes begins most of his improvised

phrases in this way. In "You for Me " Hayes begins phrases on the upbeats roughly twice

as often as he starts a phr ase on the beat. Th e difference is slightly larger in "Pint o f

Bitter." This is also consistent with bebop influence. Frequent syncopated en trances

mark one of bebop's contributions to jazz music.

Hayes did play at slow tempos but he was known for playing fast. He indicates

some frustration with this typecasting during a mid 1960s interview/discussion w ith Sal

Nistico, Wo ody H erm an's tenor saxoph one soloist at the time, also know n as a fast tenor

saxophonist. Hayes says: "W e'v e got the same sort of problem . We both like to play

ballads, or any kind of thing, but w e're sort of stereotyped. Everybody expects the tear-up

tempos all the tim e." Hayes then tells a story about playing a ballad as the only

number h is group played as part of a multiple group concert. He said it went over well,

but according to H ayes, writers thought he was sick.

The is only o ne ballad recorded during the sessions that resulted in Tubbs in New

York/The New York Sessions, and it can be found only on the 1990 re-release on CD.

Apparently, there was not enough room on the original vinyl release. "Y ou 're M y

Every thing" is a typical jazz ballad, but even here Hayes still plays a large part of the

song at double and quadruple time. "Pint of Bitter," which is the slowest of the selections

transcribed for this project finds Hays im provising mostly in triple and qu adruple

132

Les Tomkins. Tubby Hayes M eet Sal Nistico (2000). [Webpage] Accessed July 26, 2007. Available

from http://www.jazzprofessional.com/Exchange/HayesNistico.htm.

133

Ibid.






61

subdivisions. Exam ple 12 below is an excerpt from "Pint of Biter," played at about 110

beats per minute. Notice that he even uses sextuple and octuple subdivision.

Exam ple 12, first improvised chorus, measures 6-8, from "Pint of Bitter" (1961)

Wh ether at fast or slow tem pos, Hayes nearly always played a lot of

notes.

He

was criticized for

this.

In the liner notes for Tubby Hayes Q uartet in Scandinavia Alun

Morgan briefly mentions that "There were som e critics who found his high-speed note

production difficult to accept."

13 4

Morgan does not mention who the critics were, but this

kind of criticism is a typical reaction to improvisers who play a lot of notes. Hayes

stands out from ma ny jazz performers w ho fall into the musical diarrhea category. The

variety of subdivisions and the accent schemes he employed break up w hat might

otherwise be considered monotonous rambling.

Alun M organ, liner notes from Tubby Hayes Quartet In Scandinavia. (Denmark: Storyville Records,

1997).



62

Form and Growth

The devices described above show how Tubby Hayes used increased rhythmic

density and rhythm ic variation to hold interest and build intensity within a single phrase.

Hayes also used these concepts to hold interest and build intensity within the larger

context found in an improvised solo as a whole.

W e have already seen in example 10 how H ayes used quadruplet subdivision to

build intensity in the second half of the 8 measure unaccom panied introduction to "You

for M e." He used a sim ilar approach to build intensity in selected places within each

chorus of "You for Me ," usually in the later half. Notice that he plays double time within

the first 8 measures of the second half of his first four individual choruses in "You for

Me."

In this way he expand s the scope of this device by playing extended phrases in

double time rather than using the isolated doub le-time beats found in the second half of

the introduction to "You for Me ." Hayes uses extended dou ble time phrases to build

intensity during his solo on " Soo n" as well, but the position of the double time p assages

varies more from chorus to chorus on that track.

In his final im provised chorus on "You for M e," Hayes achieves greater intensity

in part through contrast by avoiding an extended double time passage. Instead, he builds

intensity by playing phrases with increasingly more syncopated jagge d m elodic con tours.

Put simply, he changes direction more, uses greater rhythmic variety with mo re frequent

accents. Hayes also helps to increase intensity by playing higher notes and playing with

an overall greater tessitura.



63

Hayes used a great deal of variation in phrase length, frequently composed of odd

numbers of measures, as well. He played as many 1, 3 and 5 measure phrases as he did

2,4 and 6 measure phrases, and his longest phrases tend to be found towards the end of

his solos where he is building intensity.

Hayes also repeatedly phrased over the bar

lines,

and he frequently applied this

strategy at transitional places such as the beginning of a new chorus or at key cadence

points in the song. Combined with increased note density, this was an effective way to

build intensity and keep a sense of forward motion.

Example

13

below shows the beginning of the last chorus of Hayes' improvised

solo on "Soon," which was played at a tempo of 194 beats per minute. Notice that it

begins at measures 168 in the measure before the double bar line marking the beginning

of his final chorus, and it continues for the next six measures. At a total of seven

measures, it is the longest phrase in the solo, and has the highest note density. The

freq uen t direction changes create a jagged melodic contour, and the overall range of the

melody is also quite large at almost two octaves. These things combine for an overall

intensity level that is quite high leading into the final chorus of the solo.



Example 13, fifth and sixth improvised chorus, measures 32, and 1-6, from "Soon"

Notice the beginning of the next phrase shown in the last two measures of

example 12. Hayes begins this phrase on the upbeat just two counts after the end of the

last phrase, and remains in the upper range of the saxophone. The phrase continues over

the bar line through the cadence point marking the second 8 measure section of the form.

Hayes uses the offbeat entrance, upper range, and playing over the bar line to maintain

the intensity created with the

first

phrase.

Hayes repeatedly used variation in phrase length, increased note density, freq uen t

direction change and expanded range as devices to create variety and build intensity in

the other improvised solos transcribed for this project. In "Airegin," he played the

longest phrase of the solo at the end of his last chorus. Example 14 below shows the 8-

measure phrase starting in the measure prior

to

the

final

C section of his final chorus.



65

No te the range of this phrase, that fact that it contains highest notes in the solo, and ho w

the number o f direction changes increases as the phrase com es to a close.

Example 14, fifth improvised chorus, measures 23-32, from "Airegin" (1961)

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,

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p

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The techniqu es, i.e., increased note density, phrase length variation, and u pward

expansion of range that Hayed u ses to build intensity have been prove n to be effective

within the context of western mu sic for centuries. It is clear that whether conscious of it

or not Hayes had a firm grasp of how to use these techniques to build phrases and

develop an improvised solo.

Melody

Variation in melodic contour is a development technique that has been in use for

centuries, probably since mu sic's inception. W e have already seen some aspects of

melodic contour w hile examining the form and growth involved w ith the phrase structure

in Tubby H ayes solos. He used a great deal of variation in me lodic contour, and this can

be clearly seen in most any ph rase in the transcriptions.



66

In addition, the melodic vocabulary of Tubby Hayes was composed primarily of

tertian chord arpeggios, scale fragments, and approach notes. Exam ple 15 below shows

the two measure solo break and the first 9 measure of Tubby Hayes' solo on "Soon."

This excerpt is quite typical of Hayes constructed jazz. Every note in this passage can be

explained as part of one of the above mentioned m elodic devices

Exam ple 15, first improvised chorus, solo break and measures 1-8, from "S oon " (1961)

Measure 31 is derived from an F major scale with chromatic approach notes G #

and B (marked C PT for chromatic passing tone) on the first and fourth sixteenth notes in

beat four. The scale continues through the next three measures with the exception of the

descending arpeggio on chord tones 9, 7, 5, and 3 of an F#9 chord on beat two of

measure 3 2. Hayes probably derived measures 35, 36 and 37 from the G harmo nic minor

scale, although the conclusion of the middle phrase in the excerpt at measure 37 could be

analyzed as a G min or arpeggio with two approach n otes A, and C.

Measure 38 and the first beat and a half of measure 39 are derived from the Bb

dorian scale while the Gb on the and of two in measure 39 prov ides a chromatic approach



to the descending 9,7,5,3 arpeggio on Eb9 anticipating the harmony in measure 40.

Measure 40 is quite interesting, but it can be explained w ithin the m elodic

parameters set above. Beat one starts with a chromatic approach to the chord 3

r d

and

finishes w ith surrounding tones (marked E NC for enclosure) to the E on beat two, w hich

along with the G# on the and of two functions as a two note arpeggio on E. The E chord

is a tritone substitution for Bb , and functions secondary dominant resolving back to the

Eb7 on beat three spelled enharmonically here as D#. Beats three and four sim ply

descend downw ard through the Eb mixolydian scale to arrive on the F major chord 3

r d

on

beat one of measure

4 1 .

Hayes then plays an FM 6 chord arpeggio using chord tones 3, 5,

6, and 1 to complete the final phrase in the excerpt.

Being able to describe the scale or chord derivation does not do the phrase justice

however, because if fails to explain why the phrase works. One thing that mak es Hayes

melodies so effective is his extensive use of chromaticism. This can be seen not only

through his frequent use of chrom atic approach tones, but also through som e choices he

makes. In example 15, notice the chromatic motion in two places, first from the F# on

the and of 4 in measure 36 to G on beat one of measure 37 , and second from the A# on

the and of 4 in measure 40 to the A on one in measure

41.

In both cases, Hayes appears

to make the choice of wh ich scale fragment to use and what chord tone to begin the

arpeggio on based on how best to exploit chromatic voice leading inherent in the chord

change.

As mentioned above, Hayes applied a great deal of variation to the overall

melodic contour of each phrase by changing direction, usually once or twice per measu re,

and often coupling the direction change with an accent. This adds to the sense of forward



68

motion and variety that is found in the other aspects of his performance style. Notice that

in the penultimate m easure of the third phrase shown in examp le 15, Hayes changes

direction three times. This is the only mea sure in the excerpt w ith three direction

changes, and this helps to build intensity towards the tonic cadence wh ich concludes the

entire excerpt at measure 41 .

It is clear that while Hayes did not break new ground w ith his melodic

vocabulary, he applied it in a sophisticated fashion that is obscured by how logical and

pleasing to the ear his melodies are. Students of jazz could learn a great deal from Hayes,

because even today, forty years after this music was recorded, jazz players strive to be

able to use the same m elodic devices shown above as effectively as Hayes did.

Harmony

The effective use of proven techniques is as evident in Haye s' harm onic app roach

as in the other aspects of his style. His harmo nic vocabulary, like that of a lot of jaz z

musicians in 1961, was based on a combination of the blues and the comm on p ractice

tonal system used by so many com posers in other genres of Western art mu sic. In

addition to dem onstrating the melodic, rhythm ic, and phrase structure elemen ts discussed

thus far, examples 1-14 demonstrate a num ber of harmo nic elements as well. These

include arpeggios outlining various 7

th

chord types and qualities found comm only in jazz

music, and chord scale fragments derived from major, harmonic m inor, natural minor,

dorian, and mixolydian scales. These fragments occur in places where anyone familiar

with chord scale relationships in jazz w ould expect to see them.



69

In fact, it is fair to say that Tubby Hayes w as not particularly innovative from a

harm onic standpoint, but he applied harmony in a way that clearly indicates serious study

of the bebop lang uage. It should also be noted that his application of the harm onic

system w as fist-rate. W hat is interesting about Hayes is how he used various harmo nic

devices to add interest through un ity and variety, and build intensity.

Example 16 below shows the long phrase concluding Hayes' solo on "Airegin"

(also depicted in exam ple 13) with some added chords and changed chords in parenthesis

to indicate one possible interpretation of the harmony im plied by the notes played by

Haye s. There are other possibilities if one considers non-chord ton es, altered tones,

upper chord extensions and scalar interpretation.

Exam ple 16, fifth im provised chorus, measures 23-32, from "Aire gin" (196 1)

in

(tf)

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70

It is difficult to tell exactly what cognitive processes Hayes used all the way

through this phrase, but it is clear that the line implies the addition of chords to the

harmony . There is a dominant sound in the first two beats of measure 173, and the II, V

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in the key of D major in measure 173 borrowed from the B section of "Airegin " is

obvious too; he played that series of chords every chorus. He substituted a C dominant

chord for a C minor chord in m easure 177 and mad e the same substitution at the same

place in the song form when trading fours.

There are multiple interpretations in some places. For example, rather than

thinking of adding chords in measures 175 and 176, Hayes could have been anticipating

the minor II, V progression in measure 176 by playing the appropriate scale (C harm onic

minor) and adding the B-flat and A on beat two as a double chrom atic approach to the Ab

on beat 3. But even if this were the case, the harmo nic implications still exist whether

intended or not.

Also, notice the likeness between measures 176 and 180. They are the same

pattern applied in two different k eys. This indicates a minor II, V pattern that Hayes

probably practiced.

Exam ple 17 below shows Hay es using a whole tone scale. This phrase is quite

typical of H ayes. As seen before, he plays a phrase over the bar line at the transition

betwe en the first and second choruses of his solo. Wh en he arrives at the first m easures

of his second chorus he uses a whole-tone scale anticipating the D7b9# 5 chord b y four

beats. The w hole tone scale is not an uncom mo n cho ice in this situation; it fits the chord,

but it does have an exotic sound nonetheless. It is particularly striking in this instance

because it contrasts so heavily with the on chrom atic motion so pervasive in Hayes style.

Hayes underscores this unique place in the solo further by decreasing the

rhythmic density to syncopated, off-beat quarter notes. This provides contrast to the

rather constant steady-eighth feel in the solo. His anticipation of the altered dominant



71

chord also adds color to the line. This combination of devices makes for a part icular ly

effective phrase and provides

a n

excelle nt exam ple of Ha ye s ma xi mi zin g the effect of the

harmonic vocabulary he had avai lable to him.

Exa mp le 17, 2

n d

improvised chorus, measures 70-75 , from "Airegin" (1961)

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In addition to the wh ole tone scale used in measures 73 -75, Hayes seems to be

applying another symm etric scale in measures 70 and 71, in this case a symmetric

dominant scale, sometimes referred to as an octatonic or a half-whole diminished scale.

Starting with a half step, this is an 8 no te scale that alternates half steps and wh ole steps.

At first glance , Hayes seems to be ignoring the Bb 6 chord in favor of extending the

F7(b9) sound by playing o ne of his signature rhythmic patterns on a descending F

symm etric dominant scale that continues until the Am 7(b5) in measure 72, and this is a

valid way of analyzing this passage. How ever, the F# on the last sixteenth note of beat

one in measure

71

mov es to an F natural on beat two. This serves to resolve the b9 of

dominant chord in the most expected way to the tonic chord 5 on beat two. The Ab on

the upbeat of beat four serves as a chromatic approach to the A on beat o ne of m easure

72, and when spelled enharmonically as G# implies a secondary dominant. Serving as



72

the chord 3

ra

of E7 moving chromatically up to A the root of the resolution chord.

Measure 72 could also be interpreted as a symmetric dominant scale, but it perhaps is

better understood as

G

harmonic minor scale, or as an ornamented arpeggio on D7 with a

b9 added. Again, it is impossible to know exactly what Hayes was thinking here, but

what is truly interesting is that Hayes, like many great jazz musicians did not just play

scales and patterns. He used these devices in such a way as to imply further harmonic

motion and exploit chromatic voice leading inherent in the harmony.

Example 16 above is not the only place where Hayes changed chord qualities.

Another good example of this can be found in "You for Me." Example

18

below shows

the solo break and the first measure of Hayes' solo.

Example 18, 1st improvised chorus, solo break and measure 1, from "You for M e"

(1961)

Here, during the unaccompanied solo break in measures 89 and 90, Hayes

references the blues by introducing

his

solo with a phrase derived from the C blues scale.

When the rhythm section enters at measure 91, Hayes continues with the blues scale

which in effect changes the quality of the first onic chord in the form of "You for Me"

from major to dominant.

Hayes references the blues by playing lines derived from a blues scale quite

freq uen tly. He plays a similar phrase to the one shown in example 17 to mark the



73

beginning of his second, fourth and fifth choruses of "You for Me." Exam ple 19 below

shows that he took a similar approach for his solo on "Pint of Bitter." Hay es plays only

one chorus on this track, but the Bb6 chord com es around three times in the AABA form

and Hayes plays a blues scale derived line each tim e.

Example

19 ,1

s t

improvised ch orus, measures 1 and 2, from "Pint of Bitter" (1961)

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Exam ple 20 below shows another strong phrase at the beginning of the form in

"You for M e." In this example, Hayes ignores the G7 chord in measures 7 4 and 76 in

favor of an Eb chord. This works despite the clashing Gb in measure 76 because of the

strength of line established by the chro matically ascending sequence, and because the G b

happens on the upbeat of three, a weak spot in the measure. Hayes strengthens the line

further by accenting the top note in each sequence .

Example 20, 3

r d

improvised chorus, measures 1-5, from "You for Me " (1961)

No tice also in example 19 that measure 77 functions as a II, V progression

tonicizing the D minor chord in measure 78 , which in turn functions as the II chord for

the next II, V, I. Tonicizing a chord by inserting secondary dominants and sometimes



subdominants is often called back phrasing, because it extends a harm onic sequence

backwards throug h a line. It is an improvisational technique that represents a chief style

characteristic of bebo p, and it is a device frequently used by Tubby H ayes. There is an

example of it in almost every long phase he plays, and he almost alway s uses back

phrasing to add interest when playing extrem ely fast. It can be seen in every double tim e

phrase in both "You for M e" and "Soon ."

One last harm onic device that deserves mention is the tritone substitution. Jazz

musicians consider dominant 7

th

chords with roots a tritone apart from one an other to be

interchangeable because the 3

r d

and 7

th

of one chord are the same pitches as the 7

th

and

3

rd

in the other. The tritone substitution is probably the most com mon chord substitution

used by jazz m usicians, particularly from this era and style.

Hayes used tritone substitutions, but not as frequently as one migh t expect

considering his penchant for chromatic motion. Beat three of measure 51 in Exam ple 21

below is an excellent exam ple. Hayes is playing a line likely derived from the Eb

mixolydian scale, the chord-scale associated with an E b7 chord or the appropriate tritone

substitution for the A7 chord written in the chord changes.

Example 2 1, im provised chorus, B section, measures 1-5, from "Pint of Bitter" (1961)



75

Example

21

could also be interpreted another way. Hayes could be thinking

about playing a symm etric dominant, or half-whole diminished scale with A as its root.

This is an acceptable chord scale for a dominant seventh chord. If this were the case,

Hayes would b e using another harmonic device that is comm on in jaz z and perhaps m ore

closely aligned w ith the use of the whole tone scale, another symmetric scale acceptable

for use over dom inant 7

th

shown in example 16. How ever Hayes was thinking about it,

the harm onic effect is still the same. It really strength ens the line and allows Hay es to

take advantage of the chromatic voice leading.

On occasion H ayes uses the tritone substitution in a rather unconventional w ay,

and this can be seen in example 22 b elow.

Exam ple 22, Solo break and measure 1, from melod y chorus and I

s

improvised chorus

Notice in measure 32 (the last measure of the melody chorus) how H ayes inserts a

descending arpeggio on the notes G#, E, C#, and A# . The best explanation for these

notes is as chord tones 9, 7, 5, and 3 of

F#9,

wh ich is the tri-tone substitute for the C7

chord occurring on beat 3 of the me asure. It is interesting that Hayes uses the tri-tone

substitution prior to sounding the C7 chord and not after or in place of it. Anticipation of

a dominant chord using the tri-tone substitution is occasionally used by H ayes and could

be used as an identifier.



76

It is clear that Tub by Hayes system atically em ployed harmo nic devices such as

tri-tone substitution, back phrasing, and chord anticipation that helped him d evelop ideas

effective at illuminating the chord chang es, but he also used them to strengthen phrases

and build intensity in his improvised so los. This is a mark of a master improviser. It is

also notable that while he effectively employed th ese harmonic devices, he was not a

slave to the chord changes so to speak. He wo uld allow the strength of a line carry itself

through a series of changes even if it did not fit perfectly. Th is indicates that he was a

true improviser, and not a paint-by-num bers playe r who plugged in practiced and

memorized lines into corresponding chords.



77

CHAPTER VI

SUMMARY AND CONCLUSIONS

Exam ination of these transcriptions reveals that from a theoretical perspective,

Tubby Hayes w as rather conventional. Virtually every definable aspect of his musical

vocabulary including sound, time feel, phrasing, melodic devices, and harmon ic approach

was somewhat conventional and can be broken down, documented and shown to exist in

the music of other jaz z m usicians from the sam e period and earlier.

Since jazz is so often equated with finding o ne 's own voice, it would seem that

the above observation is rather condemning. But this is not the case, because with the

exception of John Coltrane and O rnette Coleman, the above statement could be applied to

virtually every famous jaz z saxophonist performing in 19 61. Yet, players like Sonn y

Rollins, Sonny Stitt, Canonball Adderly, Stan Getz, Tubby H ayes and many m ore all

managed to find their own voice and make a contribution to jazz . How did they do it?

Each used these conventional m usical elements of tonality in western mu sic as well as

those specific to the jaz z language in their own way. They w ere the consolidators, and

like the consolidators in other areas of music history, they are just as important to the

history of

a

style as the innovators, because they propagate innov ative techniques.

Innovations not propagated are much m ore likely to be seen as mere nov elties.

Tubby Hayes w as famous for playing fast, but this alone is not enough to warrant

the admiration he deserves. He had a warm and full laid back sound uniquely his own



78

but subtly linked to the rest of the jazz world through his adm iration for the jazz

saxophonists that came before him. He played with rhythmic ferocity and a hard driving

swing feel comparable to Cannonball Add erly and others from the hard bop period. He

played phrases that w ere rich in variety of length, accent scheme, beat subdivision,

melodic con tour and range, and at the sam e time he provided unity by connecting his

phrases to each other and song melodies through sim ilarities in rhythm, com mon notes

and voice leading inherent in the harmony . He connected his music to jaz z history by

playing the blues well and by appropriating blues melodies tastefully in his solos. He

built intensity with sophistication using combinations of increased rhythm ic density,

greater melodic range, longer phrases, chord substitution and increasing speed of

harmonic rhythm through back-phrasing. He used approach notes as glue, connecting

his ideas in a seamless fashion, and he did all of these things with the ease of a true

professional.

Had T ubby H ayes lived in the United S tates, he might have been better kno wn,

but that would n egate one of his most adm irable qualities and the one thing about him

that was innovative. He managed to achieve a level of jazz m usicianship and fluency in

the language of jaz z that was com parable to his American cou nterparts while growing up

in England.

If one were so inclined, they could make the argument that Hayes w as playing

bebop 20 years too late, but he had elements of contemporary playing too. His hard

driving approach to swing places him easily in the hard bop category.



79

From an educational perspective, Hayes makes an excellent player to study. His

technique is clean and easy to hear even on the ex tremely fast playing, and his playing is

extremely logical from a theoretical point of view.

The world of azz should be proud of Tubby Hayes, because he represents the

blossom ing of one of Am erica's greatest artistic contributions to world. He helped mak e

jazz a genre that is practiced, admired, and patronized world w ide.

Suggestions for Further S tudy

The discussion about tone quality touched on an interesting point. Thoug h it is

widely know n that the tone quality or timbre of any vibrating musical sound is

determined by the presence or lack thereof of harmonics or overtones relative to the

fundamental, no study has been done to exam ine the different h armo nic signatures of the

widely disparate bod y of recorded saxophone mu sic. Since the saxophone has

experienced such a wide range of acceptable timbres in its short history, a researcher

could use an oscilloscope to determine and docum ent the harmonic signature of som e of

the mo re famous saxop honists. A researcher could then compare the various harmonic

signatures to the descriptive terms most often used to describe each performer. This

could lead to a better understanding of how terms like bright, dark, edgy, e tc ... appear in

harmo nic signatures, and it could provide a resource for research addressing the subject

of timbre.

There are now a significant nu mber of recordings of Tubby Hayes available that

chronicle his career from w hen he was 20 years old to his death in 1973. Tub by Hay es



80

historians could benefit from further transcription and analysis of representative examples

from various points in his career in order to document his development.

An exam ination of how jazz in G reat Britain and/or Europe has progressed since

the death of Tub by Hayes would also ma ke a good topic of research. One could consult

European jazz mu sicians in order to exam ine the scope of the influence of Tub by Hay es.

One could also comp are and contrast the rhythm sections Tubby H ayes played

with throughout his career and pay particular attention to how the New York based

rhythm section used in Tubbs in New York/The New York Sessions co mpares to those that

accompanied him in England. The Mercury records re-release of the Fontana album

Tubbs

would make an excellent recording for com parison because it was recorded in the

spring of 1961 jus t six months prior to the recording date in New Y ork.



81

APPENDIX

A:

Transcription

of Airegin



82

APPENDIX

A

Transcription of Airegin as performed by Tubby Hayes on

Tuhbs in New York/The New York Sessions in December, 1961

i TWOS sAXOWOKS Composed by Sonny Rollins, Transcription by Edward Orgill

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112

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116

DISCOGRAPHY

Hayes, Tubby. The Eighth Wonder Tubby Hayes, (1958), LP, Jasmine Records, CD

reissued 2000, JASCD 6 11.

Hayes, Tubby.

Mexican Green

(1968), LP, Fontana Records Ltd, CD reissued 2005,

Universal Classics and Jazz UK BIEM/SABAM 983 1983.

Hayes, Tubby.

Night and Day.

Ronnie Scott's Jazz House, 1995, JACD 049.

Hayes, Tubby.

100% Proof: The Tubby Hayes Orchestra

(1967), LP, Fontana Records

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1885.

Hayes, Tubby.

Tubbs

(1961) LP, Fontana Records Ltd, CD reissued 2005,


Hayes, Tubby.

Tubbs' Tours

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Hayes, Tubby.

Tubby Hayes and Ronnie Scott: Th e Couriers of Jazz.

Fresh Sound

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Tubby Hayes and the All Stars: Return Visit

(1962), LP, Fontana Records

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1888.

Hayes, Tubby.

Tubby Hayes: England's Late Jazz Great.

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(c. 1966), Harket Records, 2005

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Tubby Hayes: Live 1969,

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Hayes, Tubby. Tubby Hayes: Qua rtet in Sandanavia. Denmark: Storyville Records,

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Hayes, Tubby. Tubby Hayes Quartet: Live at the Dancing Slipper. Harkit Records, 2006,

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STLP 12/6116.

Hayes, Tubby. Tubby Hays: The Little Giant. Proper Records Ltd. PROPERBOX 117

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Hayes, Tubby. Tubby Hayes with Clark Terry: The New York

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blue hayes

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