SimonSpill

Thank you, John. Very pleased you took the time to read it.

Benny Goodman was a real person. His real name was David and he played with most of the leading UK modernists between the early 1950s and early 1970s, as well as a stint in the unclassifiable band of Sandy Brown and Al Fairweather. He later career was blighted by serious drug addiction and he existed on the fringes of the underworld. His death circa. 1975 was very grisly: he was discovered dead in a public toilet trussed up with barbed wire. And yes, it IS Jack Sharpe playing the second tenor part on the final track. According to Dave Green, who played on several tracks from the album, the sessions for 'Hummingbird' were chaotic and substance-fuelled, taking place late at night. Interviewed in 'Melody Maker', Tony Faulkener - who composed the title track - thought the album the 'worst record [Gonsalves] has ever made.'

Thank you, Misterioso. Very happy to hear you've enjoyed the notes.

Spot on. Coltrane's 'Sun Ship', Joe Henderson's 'Tetragon', Sonny Rollins' 'Next Album', Stan Getz' playing Bacharach compositions, some CTI Freddie Hubbard, a bit of Joe Farrell and Zoot Sims playing 'Applecore' with the Mulligan Concert Jazz Band were among the things he was listening to on cassette in hospital at the end.

Tubby certainly acknowledged Getz' influence in several interviews.

Yes, since getting access to some of Tubby's work diaries I've been able to ascertain the correct dates, in particular the Costanzo and 'The Orchestra' sessions which were listed under the wrong dates in Barbara Schwarz's discography.

It would be. The new set comes straight off the masters or session tapes. The Universal Japan and UK Impressed/Re-pressed CDs were straight off vinyl. To me to upgrade is a no brainer...

I never ever gave up playing. I've been a professional musician since 1996... The only thing I've given up is making albums. Three awful ones is quite enough, I think... Very kind of you to say, John. Thank you.

I never ever gave up playing. I've been a professional musician since 1996... The only thing I've given up is making albums. Three awful ones is quite enough, I think...

Sound throughout is excellent I'd say.

Thanks. Hopefully it'll remind some people I'm a saxophonist first and foremost...

Good to hear everyone's enjoying the set. A couple of things: yes, everything on the box has been mastered straight off the original Fontana tapes - either masters or session reels - or in the case of certain items from the '100% Proof' sessions from Tubby's own reference copies. Secondly, sadly Decca/UMG were unable to use the four extra tracks from the 'Tubbs in N.Y.' date, which appeared on the deleted 'The N.Y. Sessions' CD, as Epic/Columbia own the masters. The sound quality on the entire box is stunning. Just compare it to the needle drops on the previous CD releases or the couple of versions of the 'Sally' single that are out there on various compilations. Although I'm hardly objective, I can't see any other issues of this music topping this treatment. I'm just so pleased it's out there, finally.

Well, limited edition is just that. Maybe they'll bring out individual albums eventually, perhaps on LP and CD? I'm so pleased that all this material is being made available. Some of us (ahem!) have been lobbying for this since goodness knows when... ...and, on a personal note, although I'm not the type to have a 'bucket list' one of my long held fantasies was to be in on the planning and production of a definitive Tubby box set (I've done my share of indie label anthologies). To know that original tapes have been sourced and used is the major selling point here, obviously, and for a Tubby-ologist like myself, just to see the tape boxes was a thing of beauty! Just wait until you hear the out-takes from 'Mexican Green'! #burnin'

As I understand it, the CD version of the box will be on general release. The LP version is, however, a limited edition.

With releases like this - with back stories that set the context and give the music its correct chronological position in the artists discography - I think how you buy is a big factor. I like packaging, background, photos, the feel of a definitive 'product.' But I would say that wouldn't I? 😎

As all this material has been transferred from the original Fontana masters or session reels the sound will be better than any previous reissues. I suspect that the price of the LP set reflects the 'high end' vinyl fetish that's all the rage. The CD issue has multiple alternate takes and added tracks from '100% Proof' which are stunning - in some cases superior to those used on the original album. There is an equally superb (and unexpected) title from 'Tubbs' Tours' which showcases Tubby's gorgeous ballad playing. And as for the 'Mexican Green' extras I can reveal that TH and the band taped no fewer than FOUR takes of one title in less than half an hour! They are on fire on these. Also, there is another beautiful ballad from the same sessions.

Correct.

Four extra tracks. Unfortunately I can't divulge more yet.

To add further detail on the forthcoming boxed sets: all the previously unissued material (including the full session tapes of the 'Grits, Beans and Greens' date) are on the CD VERSION ONLY. The LP box represents faithful facsimiles of the original Fontana issues (except where 'Palladium Jazz Date' and 'Equation in Rhythm' are concerned; these tracks are on one LP). The 'Sally/I Believe In You' single is also only included on the CD box. The booklet notes for the boxed sets are completely fresh and don't interpolate those written for the 'Grits' releases.

Yes, these were produced by the late Richard Cook who had access to the Fontana tape library.

Gentlemen, Everything on the forthcoming box is transferred from the original Fontana master, session or reference reels. The previous Japanese Universal and Impressed Repressed reissues were needle drops made by the Nippon arm of the company. Plus there is the added bonus of previously unissued material from the sessions for 'Tubbs' Tours', '100% Proof' and 'Mexican Green'. All of the 'Tubbs in NY' recordings are on the set including the four 'extra' titles that appeared on the deleted CBS CD that was issued in 1990. I've been very fortunate to have been the consultant on this box (and the 'Grits, Beans and Greens' set) and think it's the definitive treatment of this material. I've also contributed a small book to accompany the music which includes rare photographs and ephemera relating to Tubby's Fontana contract. I hope that answers some questions. Simon Spillett

I'd love to know what those 'domestic difficulties' were that supposedly 'curtailed' my playing... I never stopped playing ever (or being a professional musician). It's intriguing to learn here that some folk think I've given up! This year alone I've played nearly 70 gigs - all jazz - and have just appeared at Ronnie's with my quartet. I've just given up recording, that's all. After coming up with three, to my mind, utterly awful records (I'm referring to my own performance on the albums not that of the other players) I said no more. As I said in the current Jazz Journal the idea of my making albums with people like Martin Drew and Spike Wells was delusional to say the least. It took a while but I realised that making records wasn't good for me. I did a sideman session last year on someone else's project and it was even worse than the first three! On top of that, Gearbox dropped my contract which had included the option of a second LP - I suspect because I wouldn't play the Social Media game in order to promote Square One. Just couldn't do it. The Jazz Journal column is finishing next month too - again, my choice.

He was a lovely man, a wonderful musician and a great friend. I will really miss him. There are so many stories - I'm so glad Vic took the time out get them together in his autobiography. On a more personal note, he made a huge difference to my life, taking me on as a (VERY) raw student, aged 18, in 1993. We played together many, many times and I always marvelled at his poise, relaxation and musical invention. With cruel irony, at the time of Vic's death I was working on the sleeve notes to an album of rediscovered recordings by him from the late 1950s/early '60s, and which show him at the top of his game. I'm very sad to see that none of the national papers have (as yet) covered his passing. As one of the key founders of British modern jazz (not to mention his illustrious career as a session/touring musician) he surely deserves a full-length obituary.

Fantastic news - have been really looking forward to reading your book, Simon. Thanks Sidewinder. I hope it'll be worth the wait!