Splinters - Inclusivity (September 1, 2021 Jazz In Britain)

Newly mastered from Trevor Watt's original tapes. The complete recordings of the original Splinters lineup, including for the first time, the entire legendary 100 Club show and the previously unheard Grass Roots concert. The latter is believed to be the final recording of drummer Phil Seamen who died two weeks after this performance. Fully authorised.

If you are looking for a story which captures the mood of Great Britain in the early 1970s then what follows cannot be bettered. Indeed, all the folk memory leitmotifs of this period are contained within its sprawling narrative; polarised politics and protest; economic instability and wage concerns; unemployment; a very public tussle between old and new values; the forging of promising new alliances that, come the dawn, never quite delivered what they aimed to, their collective ideals crashing against the flinty realism of personal ambition, circumstantial change and individual discontent.

Then there is the cast list; a mix of moderates, mediators and extremists, all struggling to make sense of an arena in which uncertainty, novelty and hubris rub shoulder to shoulder. They even look the part, their riot of sideburns, outrageous hair, chocolate brown shirts, tank tops and leather jackets a reminder that, as far as sartorial fashion went, the 1970s was an all-time low for men of all ages. And if that were not enough, into this heady mix you can add the BBC, a rich source of anecdote and allegation that has become synonymous with the double-standards of the age, yielding both comedy gold dust and questionable personal mores in equal measure. Simon Spillett - May 2021 

1. The 100 Club: Phase 1

2. The 100 Club: Phase 2

3. The 100 Club: Phase 3

4. The 100 Club: Phase 4

5. The 100 Club: Phase 5

6. The 100 Club: Phase 6

7. The 100 Club: Phase 7

8. The 100 Club: Phase 8

9. The 100 Club: Encore

10. Grass Roots: Phase 1

11. Grass Roots: Phase 2

12. Grass Roots: Phase 3

13. Grass Roots: Phase 4

14. Grass Roots: Phase 5

15. Grass Roots: Phase 6

Tracks 1-9 recorded live at The 100 Club, London, on 22nd May 1972

Tracks 10-16 recorded at the Grass Roots club, London, on 12th September 1972

Phil Seamen - drums (left channel)

John Stevens - drums (right channel)

Tubby Hayes - tenor sax, flute

Trevor Watts - alto sax

Kenny Wheeler - trumpet, flugelhorn

Stan Tracey - piano (tracks 1-5, 10-16)

Jeff Clyne - bass

Recorded by Trevor Watts

Photography by Jak Kilby

Tape transfer by Matt Parker

Liner notes by Simon Spillett

Executive Producer John Thurlow

Produced and mastered by Matt Parker for Jazz In Britain Ltd.

© Jazz In Britain Ltd. 2021

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The Joe Harriott Quintet - Formation Live '61 (2021 Jazz In Britain)

Recorded live in London before a studio audience on the 24th August 1961. Previously unissued.

By the time this EP is released 60 years will have elapsed since the recordings contained within it were made, and nearly 50 years since the untimely death of pioneering West Indian free jazz altoist Joe Harriott on the 2nd January 1973, aged 42. Only in the very recent past has Harriott started to receive anything approaching the accolades he undoubtedly deserved during his lifetime. For those new to Harriott’s revolutionary sound, this is a perfectly good place to start. All of the tracks - barring Dizzy Reece’s Shepherd’s Serenade - appeared in studio form on the Quintet’s now seminal albums Free Form and Abstract, which were recorded by the same lineup as featured here, save for Les Condon who replaced regular trumpeter Shake Keane for a brief period in the summer of 1961. This is one of only two currently known recordings to include Condon in the lineup.

Harriott’s concept for Free Form involved the blending of several different genres of music. Initially bebop, trad jazz and Harriott‘s Jamaican musical roots comprised the most prominent stylistic influences on the music, but even in the early experimentation of Free Form it is already possible to detect hints of 20th century classical and folk music which would become more significant elements as the idea developed over the Quintet’s next two albums Abstract and Movement. For those already well versed in Harriott’s ‘60s output there is plenty to marvel at and absorb. Something one is immediately struck by is how much of a likeness there is between these live versions and the original album recordings, despite their apparent ‘freedom’. Here one can now fully appreciate the ‘form’ of Harriott’s concept, which only becomes clear when comparing live and studio recordings. Each piece has a specific focused direction in which it is travelling, and some passages which previously seemed improvised are revealed instead to be incredibly well crafted and rehearsed ideas.

A quick word on the recordings themselves which were sent by a donor who wished to remain anonymous to Richard Moore at the British Jazz Sound Archive, and subsequently passed on to us. The tapes were transferred to digital by persons unknown some years ago and then sadly disposed of. As a result these tracks all emanate from that final transfer, and some minor issues with the transfers that could not be corrected at a later date are still present. This explains for example the increase in pitch at the beginning of Shepherd’s Serenade on Side B, as the deck used to make the final transfer got up to speed. We feel that this though is a very minor issue overall and should not detract from what is otherwise a stellar performance and a historically significant release. 

1. Formation 05:03

2. Coda 04:52

3. Shepherd's Serenade 02:46

4. Calypso Sketches 04:26

5. Compound (drum solo) 04:04

Joe Harriott - alto sax

Les Condon - trumpet, flugelhorn

Pat Smythe - piano

Coleridge Goode - bass

Phil Seamen - drums

Front cover illustration by Piergiorgio Cupellini

Audio provided by the British Jazz Sound Archive

Executive Producer John Thurlow

Produced by Matt Parker for Jazz In Britain Ltd.

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