Teddy Edwards

Teddy Edwards - Good Gravy (1981) {2015 Japan Timeless Jazz Master Collection Complete Series CDSOL-6304}
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© 1981, 2015 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6304
Jazz / Bop / Hard Bop / West Coast Jazz / Saxophone

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. This obscure live CD features the underrated tenor saxophonist Teddy Edwards in top form stretching out on three standards ("Lady Be Good," "Oleo" and "Georgia") and his own "Good Gravy." Joined by a Dutch rhythm section (pianist Rein De Graaff, bassist Henk Haverhoek and drummer John Engels), Edwards builds up his solos expertly and plenty of sparks fly. Recommended.

Teddy Edwards & Howard McGhee - Together Again (1961) {Contemporary OJCCD-424-2 rel 1990)
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© 1961, 1990 Contemporary Records / Fantasy | OJCCD-424-2
Jazz / Hard Bop / Saxophone / Trumpet

Tenor saxophonist Teddy Edwards and trumpeter Howard McGhee had played together regularly from 1945 to 1947. For their recorded reunion, they are assisted by the masterful pianist Phineas Newborn, bassist Ray Brown and drummer Ed Thigpen. Edwards, McGhee, and Brown contributed one new song apiece which alternates with a trio of standards ("You Stepped Out of a Dream," "Misty" and Charlie Parker's "Perhaps"). The trumpeter was having a short-lived comeback at the time and he had largely regained his earlier form. Edwards sounds as strong as ever and Newborn was an up-and-coming talent. Their collaboration for this boppish date is generally quite memorable.

Teddy Edwards - Mississippi Lad (1991) {Verve 511 111-2} (featuring Tom Waits)
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© 1991 Verve / PolyGram / Gitanes Jazz | 511 111-2
Jazz / Post Bop / Jazz Blues / Saxophone

Not half as well known as he should be, Edwards is a Delta- born jazz saxophonist who impresses for his post-bop inventiveness and his predisposition to the blues. Allowed a rare feature date, he gives lessons in how to delve into a melody for meaning and then express the resulting revelations in down-home terms-relish the poetic beauty of the title song. Tom Waits, an original, molds his vocal excesses into triumphant blues declarations in Edwards's stunning composition "I'm Not Your Fool Anymore." Indeed.

A follow-up to their previous excellent CD Horn To Horn has the two veteran tenor saxophonists with the same drummer, Kenny Washington, joined by pianist Stan Hope and bassist Ray Drummond. They swing and stroll through another seven standards, Edwards with his lithe, breezy, matter-of-fact tone, Person displaying the bluesy, street smart literate, fluid approach that always holds him in good stead…

Tenor saxophonist Teddy Edwards and trumpeter Howard McGhee had played together regularly during 1945-47. For their recorded reunion, they are assisted by the masterful pianist Phineas Newborn, bassist Ray Brown and drummer Ed Thigpen. Edwards, McGhee and Brown contributed one new song apiece which alternates with a trio of standards ("You Stepped Out of a Dream," "Misty" and Charlie Parker's "Perhaps"). The trumpeter was having a short-lived comeback at the time and he had largely regained his earlier form. Edwards sounds as strong as ever and Newborn was an up-and-coming talent. Their collaboration for this boppish date (reissued on CD) is generally quite memorable.

Scott Yanow

Frank Butler's second and last recording as a leader followed his first by just under one year. He retains the same rhythm section as on The Stepper (Dolo Coker and Monty Budwig, while featuring two tenor saxophonists, Joe Farrell and Teddy Edwards, this time around. Missing are the longer drum solos of the earlier album; instead the focus is primarily on the two saxes. Edwards wrote the opening up-tempo blues "Wheelin' and Dealin'," which turns into an old-fashioned tenor battle, with both men coming out victorious. The ballad medley is split, with Farrell taking "I Got It Bad (And That Ain't Good") and Edwards playing "Tenderly," though the latter's solo gets the nod. Butler is showcased briefly in a snappy treatment of ‘Four" and more extensively in Coker's "Mr. October."