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The Improvisation of Tubby Hayes in ‘The New York Sessions’ Exegesis submitted in partial fulfilment of a Masters in Musicology Amity Rose Alton-Lee 20 February 2010 New Zealand School of Music 1 “Imagine for a moment that it is 1959 and that you are a young jazz fan visiting the new Ronnie Scott's club in London; you descend the rickety staircase to the basement venue and are greeted by the overwhelming torrent of musical energy emanating from a small but rotund, sharply suited, incredibly confident looking young tenor saxophonist half crouched before a microphone.” 1 Introduction Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced:“Indisputably the most accomplished and characterful British jazzman of his generation.” 2 His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes’ improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... 3 However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor – garrulous, pugnacious, never at a loss for a word and completely unstoppable."4 1 Simon Spillett ‘The long shadow of the little Giant’ November 2004 available from www.jazzscript.co.uk/extra/art.hayes.htm accessed 12 January 2009 2 Simon Spillett, 2004 3 Cook, Richard. Morton, Brian. The Penguin Guide to Jazz Recordings (8th ed.). New York: Penguin Group, 2006. 4 Gelly, quoted in Spillett, 2004 2 Table of Contents Introduction ....................................................................................................................... 2 Section 1: Background ...................................................................................................... 4 Part 1: Jazz in Britain in the 1950s ............................................................................. 4 Part 2: Tubby Hayes’ Biography and Career .............................................................. 6 Part 3: Tubby in New York ........................................................................................ 8 Part 4: The New York Sessions ............................................................................... 10 Section 2: Improvisation and Formula in Jazz ............................................................ 14 Formulaic Improvisation: Towards a Definition ...................................................... 14 Formulaic Improvisation in Jazz and the Bebop Idiom ............................................ 14 Charlie Parker as a Pioneer of Formulaic Improvisation: ......................................... 16 The Roles of Creativity and Tradition in Jazz Improvisation ................................... 16 Licks and Patterns: A Personal Tradition Versus Spontaneous Creation ................ 19 Hayes and Formulaic Improvisation ......................................................................... 20 Section 3: Analysis .......................................................................................................... 22 Analysis of Tubby Hayes’ Solo on ‘You for Me’ ..................................................... 22 Analysis of Tubby Hayes’ Solo on ‘Pint of Bitter’................................................... 28 Analysis of Tubby Hayes’ Solo on ‘Airegin’ ........................................................... 31 Analysis of Tubby Hayes’ Solo on ‘Opus Ocean’ by Clarke Terry ......................... 38 Analysis of Tubby Hayes’ Solo on ‘Soon’ ............................................................... 41 Analysis of Tubby Hayes’ Solo on ‘Doxy’............................................................... 48 Analysis of Tubby Hayes’ Solo on ‘Soho Soul’ ....................................................... 50 Analysis of Tubby Hayes’ Solo on ‘The Simple Waltz’ .......................................... 54 Analysis of Tubby Hayes’ Solo on ‘Half a Sawbuck’ .............................................. 58 Analysis of Tubby Hayes’ Solo on ‘You Are My Everything’ ................................ 62 Section 4: Hayes’ Improvisational Style: Summary and Overview ......................... 65 Conclusions ...................................................................................................................... 77 Bibliography .................................................................................................................... 79 3 Section 1: Background Part 1: Jazz in Britain in the 1950s Movements in British Jazz: The “trad” Jazz revival, Bebop, Hardbop, and Cool Jazz Throughout the 1930s and 40s jazz in Britain generally revolved around wartime and post-war dance bands, until the ‘British Revival’ of New Orleans jazz (commonly known as ‘Trad’). This began as early as 1943 with the formation of pianist George Webb’s band “The Dixielanders” in Barnehurst outside London. The Dixielanders’ aim was to reproduce the jazz styles of 1920s New Orleans with King Oliver’s Creole Jazz Band and Louis Armstrong as their main influences. British Jazz writer Jim Godbolt affectionately describes the beginning of this movement: The exciting music of another race and another generation was profoundly affecting the musical activities of teenagers in the forties playing at home, to the distraction of parents and neighbours, in places as far removed from New Orleans as, say, Barnehurst, Kent…5 This revival continued through the 1940s and early fifties and included bands led by such musicians as Chris Barber (trombone), Humprey Lyttleton (trumpet) and Ken Colyer (trumpeter/cornetist). In 1948 a group of young musicians including John Dankworth and Ronnie Scott, focused around the Club Eleven in London, began a movement toward "modern jazz" or Bebop. Significant instrumentalists in this early movement were trumpeter-pianist Denis Rose, pianist Tommy Pollard, saxophonist Don Rendell, and drummers Tony Kinsey and Laurie Morgan. This style had begun in the London clubs as an imitation of the American bebop developed by Charlie Parker, Dizzy Gillespie, Thelonious Monk and others. It proved difficult for the public (and many musicians) to get to grips with this music and it would soon be replaced by a less frenetic 'post bop' phase In America Cool Jazz came about at the end of the 1940s as a reaction against the relentless, driving, virtuostic nature of the Bebop movement. Among the originators of Cool were American musicians Miles Davis, Lennie Tristano and John Lewis. In Britain the ‘Cool School’ was led by alto saxophonist John Dankworth who, unlike many jazz musicians of his time had undergone formal classical musical training at the Royal Academy of Music. He formed the Dankworth Seven in 1950, which included vocalist Cleo Laine. In 1953 the Dankworth Seven expanded into what John Wickes refers to as Britain’s “first successful modern big band”. 6 Dankworth’s big band arrangements were harmonically sophisticated and drew from classical and music hall traditions as well as 5 Moore, Hillary. Inside British Jazz: Crossing Borders of Race, Nation and Class. Cornwall: NPG Books Ltd. 2007. pp 37-38 6 John Wickes Innovations in British Jazz Chelmsford: Soundworld Publishers pp4 4 his studies of the scores of Count Basie and Duke Ellington. Kenny Graham, band leader, saxophonist and another close associate of Ronnie Scott was largely responsible for bringing Afro-cuban influences (as pioneered by Dizzy Gillespie) into British jazz with his group Kenny Graham’s Afro-cubists (including influential british pianist Stan Tracey). Joe Harriett, Jamaican born, British-based saxophonist, although schooled in Bebop was one of the first pioneers of Free Jazz, with his early experiments of free-form quite separate to the free jazz movements in America led by Ornette Coleman (of which Harriott had no knowledge at the time). Hard bop, the style that originated with such musicians as Art Blakey, Horace Silver and Clifford Brown, was partly a reaction to the cool school. It was a style that incorporated elements of both bebop and the blues. ‘The Jazz Couriers’ the quintet co-led by tenor saxophonists Ronnie Scott and Tubby Hayes was often thought of as the high point in British Hard Bop as the group showcased the virtuostic talent of both players, who were well practised in the Bebop idiom. The Jazz Couriers were active from 1957, but Tubby Hayes first appeared on the British jazz scene in 1950. March, I950, when I was running a jazz club in a little hut near Raynes Park, S.W. (Tubby’s place of birth). One evening, a curly–haired, rather corpulent lad walked in, and asked if he could sit–in with the resident group, which included Lennie Hastings on drums. Somebody loaned him a baritone, as he didn’t have his tenor with him, and—as you’ve guessed—he proceeded to astound everybody 7 7Les Tomkins interviews Tubby Hayes. 1966. available from: http://www.jazzprofessional.com/interviews/tubby_hayes.htm accessed 20th October 2008 5 Part 2: Tubby Hayes’ Biography and Career Born into a musical family on the 30th January 1935 Hayes’ musical training began when he learnt the violin as a child. Influenced by listening to Charlie Parker and determined to be a jazz musician, at age 11 he picked up the saxophone that his father deemed “too big for him.” I always wanted to play jazz. As a little boy of five or six I can remember wanting to own a saxophone. I tried to talk my father into buying me one, but he told me: ‘You’ll never be able to blow that—it’s much too big for you.’ So I had a few years on violin and piano—which I don’t regret, because it was a good grounding.8 His debut as a professional saxophone player was at the age of 15 and he was leading his own band, and regularly recording for the Tempo label by the age of 20. Hayes’ earliest professional performances were with the bands of Kenny Baker, Vic Lewis, Ambrose and Jack Parnell. He spent a year with the Kenny Baker Sextet, of which he said: That was a lot of good experience. The best thing that happened to me there was working with Jimmy Skidmore. He’s a real natural player. I’ve never had any lessons on the saxophone, or anything like that—I’m self taught. I don’t know whether Jimmy’s ever had any lessons, but he taught me a lot in those days, travelling around.9 Tubby was also dependable as a section player. He played with big bands including Vic Lewis and Dave Ambrose. In an interview with Les Tomkins he mentions his stay with Dave Ambrose as being significant in his musical development. Phil Seamen was in the band and he was playing up a storm. He showed me a lot about rhythms and things I hadn’t thought about very much. Also I learned a great deal about arranging from Johnny Keating.10 Hayes achieved notable success with his quintet ‘The Jazz Couriers’ co-led with tenor saxophonist Ronnie Scott. The jazz couriers were formed in 1957 and were together until 1959. They recorded four albums during this time. It was in 1951 on a provincial club gig that Scott first encountered Hayes as a cherubic sixteen year old who enthusiastically asked if he could sit in on a number. Scott later recalled that he greeted this request with patronizing amusement before Tubby began to play, when, in Ronnie's own words, he "scared me to death."11 In 1957, Tubby had taken up the vibes after Vic Feldman had given his instrument to him. In 1959 Hayes took up the flute, having gone to a music shop to purchase a new alto saxophone for a session date but emerging with a flute instead. He was playing the instrument on a gig within days. As a flautist, Hayes claimed to play "like a trumpet player."12 Flute features are scattered throughout Tubby's albums 8 Les Tomkins interviews Tubby Hayes. 1966 9 Les Tomkins interviews Tubby Hayes. 1966 10 Les Tomkins interviews Tubby Hayes. 1966 11 Les Tomkins interviews Tubby Hayes. 1966 12 Simon Spillett 2004 6 Hayes showcased his multi-instrumental skills on his album The Eighth Wonder (Tempo, 1958) on which he played (via fairly primitive overdubbing) alto, tenor and baritone saxophones, vibes and piano simultaneously. Hayes’ music kicked in violent reaction to the austere and 'mustn't-grumble' attitude which hung over the United Kingdom like a fog even during the late 1950s, and spoke of a very un-British confidence and lack of reserve that made virtually everything else on the local jazz scene wither into insignificance.13 In 1961 Hayes became the first visiting English jazz soloist to play a residency at New York club The Half Note, attracting audiences that included Miles Davis. In 1962 he returned to the United States for a further tour and to record with Rashaan Roland Kirk. During the next few years he would also record with tenor saxophonist Paul Gonsalves, appear in the movie All Night Long with Charles Mingus, and deputize in the Duke Ellington band at a London concert. Another legendary jazz figure, the bandleader Woody Herman, repeatedly offered Tubby a place in his big band, but Hayes declined. He was also accorded his own prime time TV show, Tubby Plays Hayes Hayes success continued and he recorded throughout the 1960s including the rather unusual Tubbs from 1961; Tubby in a big band setting, and with a tuba added but no saxophone section. He also recorded Tubbs Tours in 1964, an album with a concept built around various locations and countries. In the late 1960s Hayes health began to deteriorate. In 1965 he collapsed through sheer exhaustion brought on by overwork. There were further health problems the following year. These incidents were compounded by Tubby's increasing dependence on hard drugs. He had always drunk heavily with no apparent effect on his performance, but by the mid-1960s he was using serious narcotics with regularity. As a side effect of poor health and drug use, Hayes slimmed down drastically and his friends re-christened him “Tubey” Hayes’ health continued to decline and in 1970 doctors discovered Hayes had a faulty heart valve. He underwent an operation a year later and was out of action for the whole of 1971. It was confirmed that the replacement heart valve was failing and that a second operation was necessary. Hayes would not survive this second operation. He died undergoing surgery at 3pm on the afternoon of Friday June 8th 1973. He was thirty-eight. The tragic and premature death of Tubby Hayes did not leave the loose end 'what if?' questions so typically asked of talented jazzmen who have died all too young. His career of a little over twenty years contained evidence enough of his being a truly mature talent and a forthright and honest musical voice. He had packed more than a lifetime's energetic enthusiasm into his art, and had become a well-loved larger than life figure on the British jazz scene. 14 13 Simon Spillett 2004 14 Simon Spillett 2004 7 Part 3: Tubby in New York Background Ronnie Scott’s Club After the 'Jazz Couriers' came to an end Ronnie Scott went on to open his own club, thought of by many as Britain’s premier jazz venue. Ronnie Scott’s club opened in a basement on Gerrard Street, Soho on October the 15th 1959. Co-run with saxophonist Pete King, the initial policy of the club was to encourage and provide a venue for local talent. This policy soon changed and Ronnie Scott’s club became a venue for hosting American musicians, particularly saxophonists. It was Ronnie Scott and Pete King who would be responsible for Hayes’ first visit to New York. The Musicians Union Ban on Foreign Musicians Working in the United Kingdom The Musicians Union ban on Foreign Musicians working in the United Kingdom dated from 1932, and prevented overseas musicians from working in the UK – although classical music and vocalists were exempt. In 1958, the union relaxed its embargo at concert level. American jazz musicians were allowed to perform in the UK – provided British musicians played reciprocal gigs in America. Ronnie Scott and business partner Pete King brokered a deal and in October 1961, the British saxophonist Tubby Hayes went to New York’s Half Note for a one- month residency and American saxophonist Zoot Sims played at Ronnie Scott’s. Although intended originally to protect the jobs of local British musicians, many found this ruling to be limiting, both from the point of view of the club owners, trying to attract interest to their clubs and among the top musicians in the UK such as Hayes who were looking to play with musicians on a similar level. Hayes describes his frustration with the jazz scene in the UK at this point: I’m not putting England, or London, or any of the musicians down, but I do think that the environment tends to make you a little complacent at times. And that includes myself, when I’m here for too long.15 I know a lot of people would say: Oh, no, we’ve got to look after our own musicians, and that’s why they made this barring thing in the first place years ago. But times have changed, and the world has become a much smaller place in the last 25 years. I think it’s time they let everybody work on their merit, instead of keeping it a closed shop. I really do. Music is international.16 15 Les Tomkins interviews Tubby Hayes. 1966 16 Les Tomkins interviews Tubby Hayes. 1966 8 Tubby In New York The Half Note, where Hayes played in 1961, was a jazz club located at the corner of Hudson & Spring Streets in Manhattan. The club was known for its showcasing of up- and-coming jazz musicians in the 1950s and 60s. Hayes described his main impressions of the New York scene: For one thing— 75 to 8o per cent of the musicians that I met over there are very much more conscientious than they are over here—because it’s tough. Even if they’ve got a name—there’s so much competition. And at the same time it’s a terrible rat race. It’s not easy—and, you know, people will soon turn round and row you out of something if they can... But there is a lot of enthusiasm—and a lot of hard work, which is probably why they come up with such good players. What surprised me was the fact that there were so few clubs, really, for the size of the place and the number of musicians who were there. There’s Birdland which only employs musicians who have really big names, like Horace Silver, Dizzy Gillespie, Count Basie’s orchestra. Nobody who’s not known. They don’t get a chance. The Village Vanguard might have the Miles Davis Quintet—and with him they’ll have Irish folk singers, and all that kind of thing. The Half Note is a good club. They don’t pay such good money, but they have some good musicians working there.17 Hayes appeared to be inspired by his time in New York. He describes working in the American jazz scene as a more challenging and competitive environment: I know that whenever I’ve gone to the States—although I’ve often been there and thought: Oh, it’ll be nice to get home—but, at the same time, you come back with renewed enthusiasm, because of the competition that you’ve been faced with… Especially in New York. Like, I had to follow John Coltrane into the Half Note. Then there’s Stan Getz and Zoot [Simms] and Al [Cohn] sitting there listening to you—it does certainly gee you up a bit. You can’t afford to coast. You’ve got to try and be on top form as much of the time as possible.18 It was in This Visit to New York that Hayes went on to record the album The New York Sessions. 17 Les Tomkins interviews Tubby Hayes. 1966 18 Les Tomkins interviews Tubby Hayes. 1966 9