Teddy Edwards, 78; Bebop Tenor Sax Player Was in L.A.âs Jazz Scene
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Teddy Edwards, the bebop-era tenor saxophonist considered one of the crown jewels of Los Angelesâ Central Avenue jazz scene of the 1940s, died Sunday in Los Angeles after a long bout with prostate cancer. He was 78.
Because Edwards remained loyal to Los Angeles as his home base and inspiration rather than heading to the more lucrative jazz mecca of New York City, his contributions have often been minimized or obscured -- sometimes by the very East Coast-based players he had influenced.
For the record:
12:00 a.m. April 23, 2003 For The Record
Los Angeles Times Wednesday April 23, 2003 Home Edition Main News Part A Page 2 ..CF: Y 2 inches; 79 words Type of Material: Correction
Edwards obituary -- An obituary of jazz saxophonist Teddy Edwards in Tuesdayâs California section said his middle name was Monroe. In fact, it was Marcus. The obituary also spelled Al McKibbonâs name incorrectly as Al McKibben. The film âOne From the Heartâ was released in 1982, not 1992. A reference to Edwardsâ quotation that he earned $41.27 for recording the tune âBlues in Teddyâs Flatâ was incorrect. He told The Times in a 1992 interview that he earned $41.25.
Despite his West Coast address and a career marked by scattered fits and starts and missed opportunities, he is widely credited with recording the first bop solo for tenor sax, on the recording by the ensemble of trumpeter Howard McGhee of âUp in Dodoâs Room,â and with influencing a sturdy line of tenor players as diverse as Sonny Rollins, Stanley Turrentine and Joshua Redman.
âHe was one of the first to play full-blown bebop,â said Steve Isoardi, editor of âCentral Avenue Sounds, Jazz in Los Angeles,â a comprehensive oral history of the era. âThere were people here earlier, like Coleman Hawkins, who had bands that were just passing through.â But Edwards and McGhee, Isoardi said, were local. âAnd in regard to shaping the young guys coming up, you canât overstate his influence.â
Born Theodore Monroe Edwards in Jackson, Miss., Edwards moved to Detroit in 1940 at the urging of an uncle who wanted to expose his nephew to a range of professional opportunities. It was there he first picked up the alto sax. Within months, he was collecting a string of paying gigs. He ultimately fell in with various touring bands in Michigan and Florida, where he was exposed to hard-playing proto-boppers McGhee, Wardell Gray and Al McKibben.
Eventually, Edwards settled in Southern California, taking advantage of the wartime boom and finding his place in the kinetic music scene that had lighted up along L.A.âs Central Avenue. L.A. was a 24-hour town, dotted with crowded clubs and after-hour rooms where the space between R&B; and jazz was narrow. It wasnât uncommon for jazz musicians to perform alongside or become members of R&B; bands.
Consequently, Edwards honed his craft in various settings, picking up the tenor saxophone and learning how to blow hot and cool: blues-inflected or soulful. After playing with R&B; singer Roy Milton, he was invited to join McGheeâs ensemble, where his signature sound and improvisational style began to take shape.
âHe always reminded me of the old saxophone players, like Prez [Lester Young], Dexter Gordon and all those guys,â said L.A.-based jazz pianist Art Hillery, who was from Edwardsâ hometown. âHe just had that big sound.â
Up until then, the horns of Hawkins and Young had set high standards for the tenor. âDodoâs,â with its Charlie Parker-like speed and jutting lines, played on tenor rather than alto, took the scope of tenor playing elsewhere.
âHe was known for his originality,â said Central Avenue alumnus and L.A. jazz great Buddy Collette. âHe always went his own direction. There are always people who want you to sound like someone else. But Teddy had this fast, choppy sound, and they wanted him to sound melodic. But he went his own way. He always wanted to prove something. âI can make it on my terms. I donât have to do studio work!â â
Edwards became known for a charging, up-tempo, bluesy style. But he was equally effective coaxing a sweet, burnished tone out of the tenor. âIâm trying to learn how to make love to the thing now,â Edwards told The Times in 1995. âI could always run up and down the horn, but when itâs all boiled down, Iâm at my best when Iâm playing a pretty song.â
His most famous tune, âBlues in Teddyâs Flat,â recorded in 1947 for Dial Records, became a jazz standard, though Edwards told The Times in 1992 that he had earned $41.27 for the recording, âand I havenât seen another quarter since.â
Another recording, âThe Duel,â was an energized follow-up to another famous saxophone pairing -- âThe Chaseâ by Wardell Gray and Dexter Gordon. The 1947 recording pitted Edwards against Gordon in a classic âcutting session,â testing the prowess of the soloists as they traded a flurry of searing, one-upmanship blasts. Ultimately, Gordon became known as king of bop tenor.
As the Central Avenue scene slowed, Edwards looked toward other options. He joined a high-profile power quintet led by Max Roach and Sonny Stitt, but when pressed to choose between staying home with his young family and going on the road with the ensemble, Edwards chose family, and he was replaced by Harold Land. Working the local scene, he also became part of Howard Rumseyâs original Lighthouse All-Stars.
Like many jazz musicians who remained on the West Coast, Edwards pieced together a living playing clubs, casuals and parties. He recorded a smattering of solo dates for the Contemporary, Pacific Jazz and Prestige labels, but none of them were as pivotal as his early work. Through the â60s and â70s, Edwards shared stages with Benny Goodman, Milt Jackson and Sarah Vaughan. His Brass String Ensemble, for which he started writing in 1976, allowed him another creative outlet.
Though Edwards had been battling cancer and other ailments, he continued to work well into his 70s. Singer-songwriter Tom Waits toured with Edwards in the early â80s and recorded the âOne From the Heartâ film score with Edwards in 1992. Waits also resurrected Edwardsâ career in the early â90s when he hooked up Edwards on the Antilles label and sang two of Edwardsâ compositions on the album âMississippi Lad.â
Waits said Monday he was âsad because he was a good friend. I loved him.
âI think music is going to miss him as one of the architects of bebop. That tone of his is just unmistakable. He sounded like he was drinking champagne on a train, you know what I mean?â
Edwards is survived by a son, Teddy Edwards Jr., and a sister, Velma Diaz-Infante, both of Los Angeles, and numerous nieces and nephews.
Plans for services are pending. The family requests that contributions be sent to the Teddy Edwards Memorial Scholarship Fund, Compton College, 1111 E. Artesia Blvd., Compton, CA 90221.
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