The Long Shadow of the Little Giant; The Life, Work and Legacy of Tubby Hayes (second edition); Simon Spillett

Simon Spillett [+–]

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Described by Jazzwise magazine as “the world’s leading Tubby-ologist”, Simon Spillett is an award-winning British jazz saxophonist and author. His performing accolades include winning the tenor saxophone category of the British Jazz Awards in 2011, scooping the Jazz Journal critic’s choice award for best new release of 2008 for his album ‘Sienna Red’ and securing a victory as ‘Rising Star’ in the 2007 British Jazz Awards.
Alongside his career as one of the busiest musicians on the UK jazz circuit, recording, broadcasting and featuring at many major festivals, Simon is also a writer of note. He has collaborated with veteran British jazz legend Vic Ash on his autobiography (I Blew It My Way – Northway Books, 2006) and regularly contributes articles to magazines including Jazz Journal, Jazz Rag and Record Collector. His much-awaited biography of Tubby Hayes, The Long Shadow of The Little Giant, is to be published by Equinox in spring 2015. He has also provided sleeve notes for over sixty albums by artists ranging from Artie Shaw to Stan Tracey, as well as working with a variety of record labels compiling material for reissue.
His main sphere of jazz interest is in the work of post-war British musicians and he has been praised for his “astuteness and expertise at marrying music and factual narrative” (BBC Music Magazine).

In this new, expanded paperback edition, award-winning saxophonist and writer Simon Spillett, widely regarded as the world’s leading authority on Hayes and his work, painstakingly outlines a career that alternated professional success and personal downfall. Using credible eye-witness recollection, drawn from conversations with Hayes’s family, partners, friends and musical colleagues, unique access to Hayes’s own tape, photographic and personal archives – including papers that have only recently come to light – and extensive contemporary research material, Spillett has reconstructed the trajectory of his subject’s life both candidly and respectfully.

Series: Popular Music History

Preliminaries

Acknowledgements [+–] vii-x

Over forty years have elapsed since the death of the British jazz legend Tubby Hayes and yet his story still continues to captivate. Beginning as a precociously talented teenage saxophonist, he took first the local and then the international jazz scene by storm, displaying gifts equal to the finest American jazzmen. He appeared with none other than Duke Ellington and proved almost single-handedly that British jazz need not labour under an inferiority complex. Hayes’s triumphs during the 1950s and 60s enabled still later generations of English musicians to take their music onto the world stage. However his story, distorted by the folklore surrounding his tragically early death, aged only 38, has rarely been accurately recorded. Much of what has been written, broadcast and recounted about Hayes has added only confusion to our understanding of his short but brilliant life. In this new, expanded paperback edition, award-winning saxophonist and writer Simon Spillett, widely regarded as the world’s leading authority on Hayes and his work, painstakingly outlines a career that alternated professional success and personal downfall. Using credible eye-witness recollection, drawn from conversations with Hayes’s family, partners, friends and musical colleagues, unique access to Hayes’s own tape, photographic and personal archives – including papers that have only recently come to light – and extensive contemporary research material, Spillett has reconstructed the trajectory of his subject’s life both candidly and respectfully.

Introduction

Introduction [+–] 1-11

Chapter 1

A Face not Built for Gloom (1935-1951) [+–] 13-39

The story of Hayes’ family background and early life, his time at Rutlish School, his discovery of jazz and his first gigs up to and including his becoming a professional musician aged 15.

Chapter 2

Boy Wonder Terrorist (1951-1955) [+–] 40-65

Outlining Hayes’ time in bands led by Kenny Baker, Terry Brown, Roy Fox, Tito Burns, Bert Ambrose, Vic Lewis and Jack Parnell, his marriage to Maggie and the formation of his own band in 1955.

Chapter 3

’56 not ’45 (1955-1958) [+–] 66-94

Covering life on the road with Hayes’ own band during 1955-56, his debut recordings for the Tempo label, the jazz critics reaction to his playing, the British jazz community’s reaction to the arrival of Rock and Roll and the formation of the Jazz Couriers (with Ronnie Scott) in 1957.

Chapter 4

The End of the Old Order (1958-1959) [+–] 95-115

The impact of the Jazz Couriers tours opposite Dave Brubeck and Sarah Vaughan, Hayes’ recording for Blue Note with Dizzy Reece, the beginning of Hayes’ domination of the music press popularity polls and the demise of the Jazz Couriers.

Chapter 5

Now its Who have They Got? (1959-1961) [+–] 116-141

Detailing the formation of Hayes’ own quartet, and the recording of the landmark album “Tubby’s Groove” in 1959. Examining his influence on younger British jazz musicians and his inconsistent personal life.

Chapter 6

Down in the Village (1961-1962) [+–] 142-169

Documenting Hayes’ 1961 and ’62 visits to the USA (and the response of the American jazz community), his reaction to the work of John Coltrane and the formation of his new quintet with Jimmy Deuchar in 1962.

Chapter 7

Tubby Hayes Loves you Madly (1963-1964) [+–] 170-191

Documenting Hayes’ reaction to the Rhythm and Blues boom, the Bossa-Nova and The Beatles, the establishment of his own big band and his impromptu guest appearance with Duke Ellington at the Royal Festival Hall in February 1964.

Chapter 8

The Best of Both Worlds (1964-1965) [+–] 192-215

Looking at Hayes’ work and life during the most hectic period of his career – 1964-65 – including film sessions, two further trips to the USA, recording and touring in continental Europe, this chapter also reveals the background to his relationship with singer Joy Marshall, his musical collaborations with Georgie Fame and the impact of his first collapse.

Chapter 9

Addictive Tendencies (1966-1967) [+–] 216-237

The story of the formation of Hayes’ new quartet in 1966, his reaction to “free jazz” musicians including Ornette Coleman, the recording of the album “100% Proof” and his collapse and hospitalisation during the autumn of 1966.

Chapter 10

The Other Scene (1967-1968) [+–] 238-257

Examining the recording of Hayes’ 1967 masterpiece, “Mexican Green”, this chapter also investigates Hayes’ personal life, revealing the impact of drug and alcohol addiction, his arrest and conviction, and his re-birth with a new quartet at the end of 1968.

Chapter 11

The Beginning of the End (1969-1972) [+–] 258-279

Looking at Hayes’ work immediately before and after his heart surgery in 1971, and how changes in the British jazz scene – including the rise of jazz-rock and the avant-garde – affected him and his colleagues.

Chapter 12

It’ll be me Next (1972-1973) [+–] 280-302

Detailing the events of Hayes’ final year 1972-73, revealing how he contended with failing health and the impact of his valedictory performances. This chapter also records the effect of his death both on his colleagues and the wider British jazz scene.

Afterword

The Lost Leader – The Legacy of Tubby Hayes [+–] 303-319

A summary of Hayes’ legacy from 1973 to the present day and his place within British cultural history.

Notes

Notes [+–] 320-350

Select Discography

Selected Discography [+–] 351-374

Index

Index [+–] 375-395

Reviews

First Edition Longlisted for the Penderyn Music Book Award 2016
Awarded a Certificate of Merit in Historical Research in Recorded Jazz in the 2016 Association for Recorded Sound Collections Awards for Excellence

Reviews of the first edition:

A biography well worthy of his subject.
Mojo

A fine work of jazz scholarship and a pleasure to read.
BBC Music Magazine

Sir John Dankworth described Tubby Hayes as a 'prime force' in the world of jazz saxophone playing. Maybe the full value of his talent never came to be realised, but he was a tremendous musician on flute, saxophone and vibes, and we were privileged to work with him at the peak of his powers.
Dame Cleo Laine

This magnum opus is a triumph and perfectly complements Simon Spillett’s renowned musical homage to the master. I knew Tubby Hayes very well towards the end of his life on and off the bandstand and I can tell you Simon has done his subject more than justice. The writing is authentic, accurate, warm and very readable.
Spike Wells, drummer with Tubby Hayes, 1968–73

Spillet is himself an award-winning saxman, and has therefore been able to bring technical analysis into the pages of a book which absorbingly relates Hayes's professional endeavours and also tells of his personal life.
The Beat

Spillett's monumental biography of Hayes combines needlepoint research with a musician's judgment, true affection - plus a grace of expression - that sets him securely in the pantheon of great jazz biographers.
Digby Fairweather, jazz trumpeter

Spillett has created THE definitive Tubby Hayes book which will be essential to any old and new Tubby’s fan!
UK Vibe

One of the best biographies I’ve read in years.
Thomas Cunniffe, Jazz History Online

For me, it is the definitive work on the subject and will always will be.
Mark Baxter, writer and filmmaker including a forthcoming Tubby Hayes documentary out in October 2015

This is a beautifully written and exhaustively researched volume.
thejazzbreakfast

[A] remarkable biography.
Blue Light

It's the first really rounded account of a British jazz musician I've read, and I think I've read most of them.
Dave Gelly

Simon Spillett has written a book about Tubby Hayes that tells us a great deal about the man and his music, and about British modern jazz generally. It’s closely researched, with ample notes and a useful discography.
The Northern Review of Books

What this book has successfully achieved is to paint a three dimensional portrait of a genius but, crucially, it's written by someone who's not merely a Hayes expert - very probably the Hayes expert - but also a professional jazz musician. Few books have been written about post-war jazz, and none concerning its most illustrious star, making this eminently readable biography a strong contender for jazz book of the year.
Jazz Journal

One of the finest jazz biographies of recent times. A big book in every way, it stands as a worthy tribute to a colossal talent.
Jazzwise

This is a superlative biography and one that every jazz aficionado should read.
Soul and Jazz and Funk

With a sparkling turn of phrase and a spooky empathy for an era that may as well be the dark ages, so different is it to the present, Spillett makes Tubby walk again here, grinning, vibing (in every sense), blowing. It's a fine line, straight and true.
Record Collector

Vivid, richly detailed and based on a staggering amount of research. A real page-turner, eloquently and carefully written, and an essential read.
The Jazz Rag

This is a great, rich book of jazz writing which will stand comparison with any jazz biographies from the past.
Jazz Views

Very expertly written by another enormously gifted UK jazz tenor saxophonist. The finest piece of biographical writing I've come across in many a year. Very strongly recommended indeed.
Clarinet & Saxophone

A superb and very well researched biography.
LA Jazz Scene

A vital contribution to a subject Equinox are doing such a good job of chronicling: British jazz history.
LondonJazzNews

Well-researched and well-written, Tubby Hayes is very fortunate to have had his story told by Simon Spillett. It isn’t often that the story-teller is as engaging as the story being told. The Long Shadow of the Little Giant: The Life, Work and Legacy of Tubby Hayes (Second Edition) is one of those times.
Jazz Profiles

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The Long Shadow of the Little Giant (second edition)

The Life, Work and Legacy of Tubby Hayes

Simon Spillett [+–]

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