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Tubby Hayes and The Jazz Couriers Featuring Ronnie Scott | By Eddie Carter

This morning’s album from the library is Tubby Hayes and The Jazz Couriers (Tempo TP 15), a 1958 release by a British quintet inspired by Art Blakey and The Jazz Messengers. The group lasted only two years, but in that time, they produced some of the best hard-bop jazz in the United Kingdom. The ensemble on this date consists of Jimmy Deuchar (tracks A1, B3) on trumpet; Tubby Hayes on tenor saxophone and vibraphone (tracks A2 to A4, B3); Ronnie Scott on tenor saxophone; Terry Shannon on piano; Phil Bates on bass; and Bill Eyden on drums. The copy I own is a 1982 U.K. mono reissue (Jasmine JASM 2004).

The album kicks off and wraps up with a quick burst of Sonny Stitt’s The Theme, driven by both saxes and ends as quickly as it starts. The opener is “Through The Night Roared The Overland Express,” by Tubby Hayes. A happy original that opens with a steady beat and splendid work by the ensemble during the melody. Tubby is up first and gives an enthusiastic lead solo, then Jimmy takes a robust turn. Ronnie brings a rush of excitement to the third reading, and Terry swings joyfully before the sextet reunites for the closing chorus. The quintet introduces On A Misty Night, by Tadd Dameron, with a gentle melody. Ronnie embraces the opening solo warmly, then Tubby radiates heartfelt sincerity with his vibes. Terry and Phil share a thoughtful reading of refined elegance that gently leads to a loving finish.

“Plebus, by Tubby Hayes, is dedicated to Tony Hall and shifts the beat to a medium groove, allowing the front line to state the melody. Ronnie takes the lead this time, cruising at a comfortable speed. Tubby’s vibraphone flows effortlessly through the second reading next. Terry keeps the infectious beat going with finesse, followed by Tubby on tenor sax, who has a short say, then both horns engage in a brief exchange ahead of the close. Hank Mobley’s Reunion sets the beat to an uptempo pace for the quintet’s brisk theme, with Hayes on vibes during the opening melody and the out-chorus. Ronnie charges into the lead solo first; next, Tubby delivers a torrent of electrifying notes. Terry follows his colleague with feisty agility, and Bill has a spirited exchange with both horns ahead of the reprise and close.

Oh, My! by Allan Ganley opens Side Two with a lively ensemble theme that conveys the joy and pleasure the horns feel as it unfolds. Tubby launches into the opening solo vigorously. Terry comes right behind him with a spirited performance. Ronnie next takes center stage with a series of fiery verses, then both saxophonists share a vibrant finale, leading to the closing chorus. A Foggy Day, by George and Ira Gershwin, begins with a tender melody led by the front line. Tubby strolls into the opening solo with a beautifully sincere performance, then Ronnie builds the following statement gently. Terry evokes a warm glow of elegant sincerity next, and Phil takes a delicately intimate walk before the alluring theme returns.

Tubby Hayes’ Royal Ascot takes its name from Ascot Racecourse, and brings back Jimmy Deuchar to the group with Hayes, back on vibes. The infectiously charming tune begins with the ensemble’s lively opening chorus. Tubby is up first with an energetic bounce, then Jimmy responds with an invigorating reading that is sadly over before you know it. Ronnie takes the next spot with a brisk statement, and Terry follows with a swift chorus ahead of the theme’s return. Cheek To Cheek by Irving Berlin takes off at breakneck speed from the ensemble’s melody. Tubby leads off with passionate intensity. Ronnie then delivers a dazzling, high-octane solo. Bill wraps up this exhilarating ride with a fiery conversation between both saxophones, leading to a powerful finish with The Theme’s reprise.

Tony Hall supervised the initial session, and Bert Steffans and Cyril Windobanks are the talented individuals at the recording console. The sound quality is crisp with an impressive soundstage emerging from your speakers with stunning fidelity. The album recaptures the spirit of hard bop at its best by two of Britain’s top saxophonists, Tubby Hayes and Ronnie Scott, alongside the excellent rhythm section. My only issue with this reissue is Jasmine’s choice to apply a pink filter to the original black-and-white photo of Hayes sitting at the bandstand that Tempo used for the original release. That issue aside, “Tubby Hayes and The Jazz Couriers” is an album that still stands up over six decades later and is well worth adding to your jazz library!

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