Simon Spillett
& The Chris Ingham Trio

The life and music of
Tubby Hayes



photo by Jerry Storer

The return of jaw-dropping, virtuoso tenor saxophonist Simon Spillett, telling the story in words and music of his jazz hero Tubby Hayes, one of the most respected saxophonists in the history of British jazz. Simon shares with Tubby a love of dare devil tempos, all-out intensity and heartbreaking ballads. A high energy performance of standards and Tubby Hayes originals with muscular support from Chris Ingham (piano), Ivars Galenieks (double bass) and George Double (drums).

Watch Simon blowing up a storm in various YouTube videos

 ‘Another Setting’, composed by Simon Spillett and taken from the album ‘Introducing Simon Spillett’, Woodville WVCD 116


More musical extracts here and here

Humphrey Lyttelton

"He is the Lewis Hamilton of the tenor saxophone, and other players gulp when they hear him. It's not just his mastery of the tenor saxophone, phenomenal though that is, but the absolute conviction of his playing that is so impressive"
The Observer

"Spillett is a bruising scruff-of-the-neck hard bopper who has absorbed all the giants … generates huge excitement and swagger”
Mojo Magazine

Admission - 7 / 6 (concession)


*PLEASE NOTE*: details of concerts and musicians appearing are correct at the time of writing although changes are sometimes necessary. Please feel free to check with us before attending.






Somebody who decides to play jazz for a living knows he will struggle for the rest of his life, unless he opts for predictable and soothing compromise. Honest jazz involves public exploration. It takes guts to make mistakes in public, and mistakes are inherent. If there are no mistakes, it's a mistake. In Keith Jarrett's solo improvisations you can hear him hesitate, turn in circles for a while, struggle to find the next idea. Bird used to start a phrase two or three times before figuring out how to continue it. The heart and soul of improvisation is turning mistakes into discovery. On the spot. Now. No second draft. It can take a toll night after night in front of an audience that just might be considering you shallow.

From 'Close Enough For Jazz', Mike Zwerin (1983)


Now, divine air! Now is his soul ravished! Is it not strange that sheeps' guts should hale souls out of men's bodies? Well, a horn for my money, when all's done.

From 'Much Ado About Nothing' (Act II, Scene iii), William Shakespeare (1600)


Onstage, he storms inwardly, glaring at his audience, wincing at his trumpet, stabbing and tugging at his ear. Often his solos degenerate into a curse blown again and again through his horn in four soft beats. But Miles can break hearts. Without attempting the strident showmanship of most trumpeters, he still creates a mood of terror suppressed - a lurking and highly exciting impression that he may some day blow his brains out playing.

Barry Farrell, writing in Time Magazine (February 28 1964)