TUBBY HAYES - Split Kick - Live in Sweden 1972
Savage Solweig SS-004
The Tubby Hayes Archive Volume 004
Tubby Hayes (Tenor, Flute); Bengt Hallberg (Piano); Georg Riedel (Bass); Egil Johansen (Drums)
1 to 4 (12.2.72) Gothenberg
Tubby Hayes (Flute); Staffan Abeleen (Piano); Niels-Henning Orsted Pedersen (Bass); Alex Riel (Drums)
5, 6 (18.12.72) Stockholm
There is melancholia floating over the music on this album. The music is not melancholic, but you cannot forget the fact that this is some of the last music played by Tubby Hayes. He died just months later. From the brief announcements Tubby’s voice sounds weak as if he was struggling for breath but that is not apparent in his playing.
You can listen to this music without reading the excellent twelve pages of notes from Hayes’ biographer Simon Spillett. I would not advise that. Spillett not only knows the work of Hayes, but he loves the work of Hayes and understands the world that Hayes inhabited. Spillett’s biography detailed the last few months of Hayes in excruciating detail. The great musician was enfeebled by his heart condition and he struggled to gigs in order to rake up enough money to pay tax bills. Because Spillett is a great writer he conveys the plight clearly in the album notes and describes the music with clarity. Most importantly, he increases our understanding of the music.
Solweig Elizabeth Gronlund who died last year was Tubby Hayes partner during the latter part of his life. For years she had guarded Tubby’s private archive of tapes covering many of his musical activities from the early sixties until shortly before his death in 1973. Before she died she helped to set up the label that has already issued four releases from the archive.
Hayes’ tenor playing on this release does not show the braggadocio of earlier years but that enables him to display other aspects of his musical sensibility. Probably the highlight of the entire album is Hayes’ interpretation of, ‘I Thought About You’, both tender and tough. The first date has Bengt Hallberg on piano who liked to pay homage to his classical roots which he does on ‘Autumn Leaves’.
Tubby’s flute playing dominates the second date. Often under-rated and under-appreciated, Hayes as flautist gains by being backed by Orsted Pedersen one of the greatest bassists in jazz at that time. ‘Trenton Place’ which was introduced on the ‘Mexican Green’ album has an entirely different feel when carried on the flute. Throughout the second date there is the feeling that Hayes is playing as a guest with a rhythm section that was already well established.
The concerts, documented by Sveriges Radio, do sound as if they were recorded recently. Like the other releases from the archive they burnish the memory of the great musician.
Reviewed by Jack Kenny
Savage Solweig SS-004
The Tubby Hayes Archive Volume 004
Tubby Hayes (Tenor, Flute); Bengt Hallberg (Piano); Georg Riedel (Bass); Egil Johansen (Drums)
1 to 4 (12.2.72) Gothenberg
Tubby Hayes (Flute); Staffan Abeleen (Piano); Niels-Henning Orsted Pedersen (Bass); Alex Riel (Drums)
5, 6 (18.12.72) Stockholm
There is melancholia floating over the music on this album. The music is not melancholic, but you cannot forget the fact that this is some of the last music played by Tubby Hayes. He died just months later. From the brief announcements Tubby’s voice sounds weak as if he was struggling for breath but that is not apparent in his playing.
You can listen to this music without reading the excellent twelve pages of notes from Hayes’ biographer Simon Spillett. I would not advise that. Spillett not only knows the work of Hayes, but he loves the work of Hayes and understands the world that Hayes inhabited. Spillett’s biography detailed the last few months of Hayes in excruciating detail. The great musician was enfeebled by his heart condition and he struggled to gigs in order to rake up enough money to pay tax bills. Because Spillett is a great writer he conveys the plight clearly in the album notes and describes the music with clarity. Most importantly, he increases our understanding of the music.
Solweig Elizabeth Gronlund who died last year was Tubby Hayes partner during the latter part of his life. For years she had guarded Tubby’s private archive of tapes covering many of his musical activities from the early sixties until shortly before his death in 1973. Before she died she helped to set up the label that has already issued four releases from the archive.
Hayes’ tenor playing on this release does not show the braggadocio of earlier years but that enables him to display other aspects of his musical sensibility. Probably the highlight of the entire album is Hayes’ interpretation of, ‘I Thought About You’, both tender and tough. The first date has Bengt Hallberg on piano who liked to pay homage to his classical roots which he does on ‘Autumn Leaves’.
Tubby’s flute playing dominates the second date. Often under-rated and under-appreciated, Hayes as flautist gains by being backed by Orsted Pedersen one of the greatest bassists in jazz at that time. ‘Trenton Place’ which was introduced on the ‘Mexican Green’ album has an entirely different feel when carried on the flute. Throughout the second date there is the feeling that Hayes is playing as a guest with a rhythm section that was already well established.
The concerts, documented by Sveriges Radio, do sound as if they were recorded recently. Like the other releases from the archive they burnish the memory of the great musician.
Reviewed by Jack Kenny
