Bitrate: MP3@320K/s
Time: 77:08
Size: 176.6 MB
Styles: Bop
Year: 1959/2008
Art: Front
[5:33] 1. Our Love Is Here To Stay
[5:50] 2. Frankly Speaking
[4:55] 3. Fools Rush In
[4:35] 4. Undecided
[7:05] 5. Beve's Comjumulations
[5:22] 6. Willow Weep For Me
[5:17] 7. Lover Come Back To Me
[3:17] 8. I'll Remember April
[3:42] 9. Time After Time
[2:42] 10. When You're Smiling
[2:57] 11. Imagination
[3:29] 12. I Hear A Rhapsody
[2:12] 13. The New Symphony Sid
[5:12] 14. My Kinda Blues
[2:28] 15. Takin' Off
[4:42] 16. Tempo De Blues
[3:33] 17. Sittin' And Sighin'
[2:10] 18. Bye Bye Blackbird
[1:59] 19. Billy
Bass – Leroy Vinnegar; Drums – Ron Jefferson; Piano – Les McCann; Tenor Saxophone – Teddy Edwards.
Teddy Edwards was one of the top tenor saxophonists in jazz when he recorded these sessions, a consistent performer since the post-bop days of the late 1940s. Living in California, however, had denied him the kind of acclaim accorded some of his Eastern counterparts. But on these sessions, backed by three capable and effective rhythm sections, he showed he was among the most authoritative and dependable tenors in contemporary modern jazz.
The pianists all had very distinct styles. Les McCann was one of the more firmly established musicians to have shifted into the funk gear. Amos Trice, like Edwards, was a product of the Los Angeles post-bop black scene; and Englishman Ronnie Ball, since his early years under the Tristano influence, had developed a very personal and versatile style. Completing the quartets were some of the most highly regarded rhythm men on the West Coast in bassists Leroy Vinnegar and Ben Tucker, and drummers Ron Jefferson, Tony Bazley and Al Levitt.
On some of these sides we can also hear Gloria Smyth, a younger singer of boundless energy, with a warm and appealing feel for lyrics, that enjoyed some success in her in person appearances. A happy atmosphere prevails on these fine, long-unavailable sessions, all of which share a sense of mutual support and engagement by players on top of their game.
Teddy Edwards was one of the top tenor saxophonists in jazz when he recorded these sessions, a consistent performer since the post-bop days of the late 1940s. Living in California, however, had denied him the kind of acclaim accorded some of his Eastern counterparts. But on these sessions, backed by three capable and effective rhythm sections, he showed he was among the most authoritative and dependable tenors in contemporary modern jazz.
The pianists all had very distinct styles. Les McCann was one of the more firmly established musicians to have shifted into the funk gear. Amos Trice, like Edwards, was a product of the Los Angeles post-bop black scene; and Englishman Ronnie Ball, since his early years under the Tristano influence, had developed a very personal and versatile style. Completing the quartets were some of the most highly regarded rhythm men on the West Coast in bassists Leroy Vinnegar and Ben Tucker, and drummers Ron Jefferson, Tony Bazley and Al Levitt.
On some of these sides we can also hear Gloria Smyth, a younger singer of boundless energy, with a warm and appealing feel for lyrics, that enjoyed some success in her in person appearances. A happy atmosphere prevails on these fine, long-unavailable sessions, all of which share a sense of mutual support and engagement by players on top of their game.
It's About Time
