Eddie Heywood was on the crest of a wave when the records in this album were cut. A strangely haunting, morbidly phrased rendition of "Begin the Beguine" issued the year before, had established his reputation, and set the pattern for his style. He had somehow managed to combine complicated technique and warm melodic feeling effectively. Although now, after three years, the style seems to have overwhelmed the man and betrayed all artistic effect by its over-dominance, at the time Heywood was a balanced artist with something to say that hadn't been said before.

On four of the eight sides he is joined by alto saxophonist Johnny Hodges and the combination of these two is a happy one. Hodges' playing also effectively balances melody and technique. The tunes they play, "On The Sunny Side Of The Street," "Flamingo," "Night And Day," and "Time On My Hands," are melodic, medium-paced, and moody, just right for their combined talents.

On the other four sides the gauntleted hand of Director Leonard Feather, whose outlook on hot music is in general futuristic, can be detected. Tenor saxophonist Don Byas, and violinist-trumpeter Roy Nance, vie with each other to see who can try the most technical innovations in sixteen minutes. Nance even drags in a little pizzicato on one of his opening violin choruses. Through it all, however, snatches of Heywood may be heard which, though a bit incongruous in such company are responsible for whatever merit there is in this half of the set.