[78-L] Jonathan and Darlene Edwards

[Julian Vein]

JACK DANEY wrote:
 > I still have the  "Artistry of Jonathan Edwards" LP (COL. CL 1024). I
 > vaguely recall hearing (way back) that the cover showed two left hands
 > (which certainly would make sense). Mine, however shows two right hands.
 > Hopefully someone will tell me that my copy is a very rare reverse 
printing
 > which will bring the price of a new car on the bay. (Oh Yeah!)  BTW, does
 > anyone know the year of release (early fifties???) or have a copy of the
 > (played straight) Down Beat review which was responded to by a reader who
 > just couldn't fathom the high praise it received. He/she too may have 
played
 > it sraight. Ah! Them was the daze!!
 > JD
==========
This is the Leonard Feather review, which I have in the Downbeat record 
review book for 1957:

Awarded 48 stars.


'Forty-eight stars is a modest rating indeed for this effort; in our 
heart we add 13 stripes. for only in America could a record like this be 
made. Perhaps if such all-American sounds as the piano of Edwards and 
the matchless voice of his wife can be broadcast among our good 
neighbors, they will move, or rather, they will be moved, to a better 
understanding of our lives, our national character, our problems.

This LP is literally unique. Columbia is modest indeed in starting, in 
the liner notes, that Edwards is in the "early or formative stage" of 
his career, for we doubt that he will ever top the pinnacle of 
achievement he reaches on these sides. in fact, once this disc has got 
around, there will be no place for him to go.

Edwards can proudly claim to be the first pianist to contain Stardust, 
in unmatched simplicity, within the confines of C and G seventh. If his 
attempts to grapple with Nola lead to snide comments that his dizzy 
fingers are all thumbs, the listener should remember that Edwards 
operates under an amazing physical handicap. As the cover shows, he was 
born with two right hands and is thus the archetype of all pianists who 
have been accused of having no left hand.

The real honors, however, must be reserved for the vocal racks by Mrs. 
Edwards. her intonation must be heard to be relieved. Above all, she and 
Edwards have empathy. A partnership like this is comparable only with 
the mythical mating of Jelly Roll Morton and Chris Connor. Darlene's 
Autumn in New York, with the touchingly apt suggestion of Dear Old 
Southland in Jonathan's introduction, is a sound for sore ears. Mrs. 
Edwards is a true tragedienne, as you'll know when you hear It's Magic; 
it's tragic.

To Mr. and Mrs Paul Weston, who allegedly have been trying to take 
credit for these performances, we say, have a heart--give the Edwardses 
their due! And to you, Mr. and Mrs. United States, who save your nickels 
in a effort to stock your library with the ultimate in American music, 
we add--don't fail to miss it.'

      Julian Vein