It took a while – six years almost to the day – for Simon Spillett’s Big Band to make it from the humble setting of Atherstone to Ronnie’s, but they arrived and brought the house down. They’ve played a fair bit on the way, but this was the one that Spillett was always looking towards, as he pointed out how irrevocably linked Tubby Hayes was with the club and its founders. It was the culmination of Spillett’s hard work, commitment and vision.
At a sell-out night in Soho, the cream of British modern jazz were put through their paces under the direction of tenor man Spillett, to pay tribute to his main inspiration. Several of the players are regular associates, none more so than the engine room of pianist Rob Barron, bassist Alec Dankworth and the man responsible for the propulsive momentum, drummer Pete Cater. The arrangements were sharp, interesting, full of power and passion, and brought out some of the finest solos you’ll hear in a big-band setting.
The band didn’t need much of a kick-start, straight into The Inner Splurge and quickly followed by Take Your Partners For The Blues, which served as an introduction to the assembled company, each one getting a few bars as if to individually flex their muscles.
The material was selected from the big-band sessions of the 60s. From the travelogue of Tubb’s Tours (1964) came Pedro’s Walk (solos from Barron, Alex Garnett and Mark Armstrong) and Bud Powell’s Parisian Thoroughfare, the players dicing with death through the traffic-laden boulevards, nudging their berets in the direction of I Love Paris, The Marseillaise and Can Can; notable solos came from altoist Tom Smith and once again, the clear-toned trumpet of Armstrong.
There were so many highlights, including Robert Fowler’s tenor on Fish Soup. Jimmy Deuchar’s Blues For Bloody Morag was appropriately given to fellow Scot Bruce Adams, who expansively juggled his open and muted horn, to be followed by Ian Bateman’s voluminous trombone, before the clarion call of trumpets took turns above a bagpipe drone of assembled saxophones, marvellously playing to the crowd. Sensing this, Alan Barnes dexterously manoeuvred his baritone, the audience enjoying his tongue-slapping antics. He also featured on Soft & Supple (aka Tubby’s Theme) and Rumpus.
Of course, the leader himself threw in a good few solos and to show the softer side, calmed things down with a warm rendition of Duke Pearson’s ballad You Know I Care. As I say, there were so many high spots, but if pushed I have to go for the version of Milestones, from Tubby’s 1966 album 100% Proof. Omitting the woodwind opening of the original, it changed up a gear or two and included a terrific extended trombone solo by Joe Evans, assuming Keith Christie’s role. It was smooth, eloquent and inventive and, most importantly, spot-on contextually.
Writer Kitty Grimes once observed that sometimes there could be a “steep drop in temperature” among the supporting musicians in Tubby’s bands when he finished his solos. There certainly wasn’t here. Spillett has got himself a set of gifted and exciting players – their exuberance, camaraderie and obvious enjoyment is palpable. And infectious.
There’s going to be a new album in the near future, but in the meantime, if you haven’t got it, the 2023 release Dear Tubby H (MRPC321) will give you the flavour of the band and whet your appetite.
Simon Spillett Big Band: Nathan Bray, Mark Armstrong, Steve Fishwick, Bruce Adams (t); Andy Flaxman, Ian Bateman, Pete North, Joe Evans (tb); Spillett, Robert Fowler, Alex Garnett (ts); Tom Smith, Simon Allen (as); Alan Barnes (bar); Rob Barron (p); Alec Dankworth (b); Pete Cater (d). Ronnie Scott’s, London, Monday 9 February 2026
