One of the most fascinating experimental projects launched during the turmoil of the early 1970s British modern jazz scene was the all-star group launched by drummer John Stevens together with fellow Spontaneous Music Ensemble compatriot, alto saxophonist Trevor Watts. John’s idea was to bring together young avant–garde stylists together with veterans of the bebop era, who still retained a powerful presence.

The result was the short-lived but now-legendary Splinters that grew out of conversations between Stevens and his drumming hero Phil Seamen, The new group would include Tubby Hayes (tenor sax, flute), Phil Seamen (drums), Stan Tracey (piano), Kenny Wheeler (trumpet) and Jeff Clyne (bass) together with Stevens and Watts. There was No Plan A, or even a Plan B, except they’d eschew familiar themes and rehearsals in favour of free improvisation, albeit rooted in percussive time keeping. The pulse would be maintained by Jeff Clyne’s masterful bass playing, John’s energy and the resolutely swinging Seamen.

Stan Tracey came up with the name Splinters and they made their debut at the 100 Club on Oxford Street on 22 May 1972. The performance was recorded by Trevor Watts using a Sony tape recorder and his C120 cassette provided the remastered material for this unmissable triple CD set. We can relive the 100 Club gig and their final performance at the Grass Roots Club, Stockwell on 12 September via this superb package that also has a detailed 32 page booklet by Simon Spillett.

The untitled pieces are listed as ‘Phases’ and the 100 Club set kicks off CD 1 with John and Phil’s drums establishing a supportive platform for the improvising soloists, while Clyne’s bass adds a purposeful sense of direction. Wheeler’s trumpet shines with its combination of anger and humour including a detectable quote from Stan Kenton’s ‘Peanut Vendor’. Hayes matches Watts for speed amidst their exchanges and when their emotions collide the results are magical. Stan Tracey suffered from a piano without pedals but his chordal interjections add a mood mysterioso and the drum conversations between John and Phil induce shouts of approval from the audience.

Warning. The speed attained by the duelling saxophonists on ‘Phase 1’ of Disc 2 is enough to induce palpitations, Tubby clearly enjoys his confrontation with Trevor as the rhythm section revert to a ‘bebop meets swing’ mode. Wheeler’s ethereal trumpet on ‘Phase 4’ is quite beautiful and the Stevens/Seamen axis develops a pleasing symmetry.

The Grass Roots gig ‘Phases’ on CD 3 show a great sense of unity and hint at the potential of a group that should have gone on to greater things. It’s wonderful to hear Phil in his final days, engaging with John in a satisfying full on drum battle. There is something strangely Shakespearian about the musical dramas unleashed by Splinters. Bold men driven by passion and all but their surviving historian Trevor heading for tragic, untimely ends.