Sure, there’s nothing edgy about this session: play the melody, solo, this solo, that solo, melody again, and finish; many of the tunes are standards; these guys could play this stuff in their sleep - it looks like a million other mainstream/bebop albums until you listen. What grabs me the most about this session - aside from Edwards’ magnificent showing - is how utterly at-ease and assured the group is here, playing beautifully, affectionately like it’s no-big-deal but never cavalier or rote. And about Edwards: his sound is simply GORGEOUS, the choicest piece of chocolate in the box, with a shiny bittersweet coating around a luscious, creamy center. He has some of the Dexter Gordon Sound and a bit of the Ben Webster Sound, but he puts this - no other way to say it - "soft spin" on his tone; it’s sturdy and hearty but with a mellow breathiness to it, as if he’s drawing air in at the same time he moves it outward through his horn (a wee bit like Hank Mobley and Stan Getz). Edwards conjures evocations of some of jazz’s classic tenors yet sounds like no one else. Ronnie Matthews plays graceful, meat-&-potatoes piano (a la Tommy Flanagan or Red Garland), Chip Jackson plays strapping, sinuous bass and Chip White is a snappy, interactive, solid-sender-swinger of a drummer with his neat-o fills. The Clark Terry-like trumpet of Eddie Allen graces four tracks. Fans of The Man are not likely be disappointed, and younger listeners who want to check out a still-active tenor titan of the Old School should treat himself or herself to this.