#777Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)
Жанр: Swing
Дата записи: 1927-1941
Дата выпуска: 1993
Производитель диска, номер, страна: France, EPM, Jazz Archives #70 157942
Тип: compilation
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Продолжительность: 67:05
Источник: коллекция Л Рендера
Риппер: Мой рип
Трэклист:
1. LA ROSITA - 3'00 (Paul Dupont)
2. THE VOICE OF THE SOUTHLAND - 2'57 (Austin - Bloom - Koehler)
3. BY THE WATERS OF MINNETONKA - 2'55 (Lieurance)
4. MY OHIO HOME - 3'10 (G. Kahn - W. Donaldson)
5. THAT'S WHAT I CALL KEEN - 2'25 (G. Kahn - T. Fiorito)
6. DOIN' THE RACCOON - 2'55 (J.F. Coots - Klages)
7. MARCHETA - 3'04 (V. Schertzinger)
8. HEJRE KATI - 2'46 (J. Hubay)
9. OLD MAN HARLEM - 3'18 (H. Carmichael)
10. NO MORE BLUES - 2.'43 (E. South - E. Barksdale)
11. NAGASAKI - 2'30 (M. Dixon - H. Warren)
12 MY ! OH MY ! - 3'03 (M. Gordon - H. Revel)
13. МАМА MOCKING-BIRD - 3'28 Е. South)
14. GOTTA GO ! - 2'39 (J. Scholl - M. Rich)
15. EDDIE'S BLUES - 3'05 (E. South)
16 DAPHNE - 3'00 (D. Reinhardt - S. Grappelli)
17. FIDDLE BLUES - 2'43 (E. South - S. Grappelli - D. Reinhardt)
18. HONEYSUCKLE ROSE - 3'03 (Т. Waller - A. Razaf)
19. ON THE SUNNY SIDE OF THE STREET - 2'58 (J. McHugh - D. Fields)
20. BLACK GIPSY - 2'25 (E. South)
21. FIDDLEDITTY - 2'41 (J. Pate)
22. LADY, BE GOOD - 3'11 (G. Gershwin)
23. STOMPIN' AT THE SAVOY - 3'06 (Webb - Sampson - Goodman)
Состав:(1-2) Eddie South & Alabamians : Edward Otha "Eddie" South (vln, vo, whistle), Antonia Spaulding (p),
Mike McKendrick (g, bjo), Jerome Burke (dm, vo). Chicago, 02/12/1927. (3-4) Same. Chicago, 09/12/1927.
(5) Same. NYC, 10/05/1928.
(6) Eddie South et ses Alabamians : Eddie South (vln, vo), Clifford "Clarinet" King (cl, bcl), Antonia Spaulding (p, vo), Sterling Conaway (g, vo), Jerome Burke (dm, vo). Paris, 22/02/1929.
(7-8) Eddie South & His International Orchestra : Eddie South (vln, vo), prob. Clifford King (cl),
Antonia Spaulding (p, vo), poss. Darnell Howard (vln), Everett Barksdale (g, bjo, vo), Jimmy Bertrand (dm, bells). Chicago, 27/11/1931. (9-11) Eddie South & His Orchestra: Same ; Milton Hinton (b, vo) added. Chicago, 03/05/1933. (12-14) Same but King and Howard out. Chicago, 12/06/1933.
(15) Eddie South (vln solo) acc. by Django Reinhardt (g). Paris, 29/09/1937.
(16) Eddie South & His Orchestra : Eddie South, Stephane Grappelli (vln), Django Reinhardt, Roger Chaput (g), Wilson Myers (b). Paris, 29/09/1937.
(17) Same but Paul Cordonnie (b) replaces Myers ; Chaput out. Paris, 25/11/1937. (18-19-21) Eddie South & His Quintet: Eddie South (vln), David Martin (p) Isadore Langlois (g),
Paul Cordonnie (b), Tommy Benford (dm); The Glee Club (band) (vo). Hilversum (Holland), 13/03/1938. (20) Eddie South (vln solo), acc. by David Martin (p). Hilversum, 13/03/1938. (22-23) Eddie South's Quintet: Eddie South (vln), Stanley Facey (p), Eugene Fields (g), Doks Dickens (b), Specs Powell (dm). NYC, 12/03/1941.
Издания:2000 CD Jazz Archives (France) 157942
1996 CD EPM JA157942
1993 CD Jazz Archives (France) 157942
Compared with the trumpet, saxophone or piano, the violin has always held a relatively modest place in jazz. And yet it would seem that at the beginning of the century, in New Orleans and elsewhere, it was the violin that played the lead-part in ragtime bands, while the other frontline instruments — cornet included — took care of the counterpoint. True, no records exist to prove it, but one or two names — such as Armand Jean Piron and Jimmy Palao — have been passed down through jazz history in support of the contention. Several old bluesmen, too. played the violin, but the guitar and harmonica, cheaper and more practical, finally won the day.
We do have more tangible evidence that, by the 1920s, an increasing number of jazz violinists were tending to abandon the instrument in favour of saxophone. And we know also that purists have always found it difficult to excuse the violin for the part it played in so-called "symphonic jazz" (especially in the context of the Paul Whiteman orchestra — see Jazz Archives No.37, EPM 157642), a form they considered both hybrid and decadent.
Notwithstanding all of which, by the latter half of the 1920s hot violinists were beginning to make quite a name for themselves: white Americans such as Joe Venuti and Emilio Caceres, or black artists of the calibre of Juice Wilson, Eddie South, Stuff Smith and Joe Kennedy. These were followed by a whole string of European counterparts, from Sven Asmussen, Stephane Grappelli, Michel Warlop, Georges Effrosse, Helmut Zaccharias and Zipflo Reinhardt to Jean-Luc Ponty, Didier Lockwood and Pierre Blanchard. All of these highly skilled violinists were, or still are, wholehearted jazz players, artists who have fully participated in the development of the music, and who have enjoyed similar status to their most famous contemporaries. Even today, Eddie South is no doubt the most highly respected of the entire bunch, yet, paradoxically, one of the least well-known. This probably stems from the fact that he seems so difficult to classify, always an unforgivable sin in the jazz world!
Edward Otha South was born on 27 November 1904 in Louisiana, Missouri, but spent his youth in Chicago. A child prodigy on violin, and with a thorough classical training to his credit, he should by rights have become a concert violinist, but at that time any such career was more or less barred to a Black. He thus turned towards jazz, without difficulty and certainly without regret, since it was in jazz — especially in Chicago, where so many of the top musicians from the South had by now settled — that things were really happening. This was the new music: the most surprising, the most disturbing and the most audacious. Darnell Howard, clarinettist, saxophonist and violinist, gave South a helping hand, enabling him to land jobs with Erskine Tate, Charlie Elgar and Jimmy Wade. And it was with
Wade that Eddie South made his first records in 1924. By 1927, he had formed his own group, the Alabamians, which he kept going until 1932, and it was with this outfit that he waxed the first records under his own name, the very sides that open the present album: La Rosita, The Voice Of The Southland, By The Waters Of The Minnetonka, My Ohio Ноте зпd That's What I Call Keen. This was a curious little group consisting of just three string-instruments and drums. It should be noted that, despite the name, "Antonia" Spaulding was a man, his real name Anthony. Apparently, many Chicago pianists of the day had rather special habits, something that earned them the nickname of "Mother". Which, it seems, is why Earl Hines, a lusty exception to the rule, was immediately nicknamed "Father"! As 1928 was drawing to a close, South, Antonia and company — plus clarinettist Clifford "Clarinet" King, who also played bass-clarinet — arrived in Europe. They made appearances in Budapest, at various venues in England, and in Paris. In the French capital, they cut two sides: one of these, Doin' The Racoon, is included here; the other, Deux Guitares, is one of the great classics of gipsy music. Indeed, Eddie South, had come to Europe as much to learn as to play. He was fascinated by the music of the gipsies, and his stay in Hungary was inspired by his desire to experience their music at first hand. A mission accomplished, since for the rest of his days he would make constant use of what he had learned. His formal training had already made South the most subtle of all jazz violinists, the most delicate of swingmen, and a melodist par excellence. Here was a musician who made his instrument sing, and whose tone was warm, caressing and tender. The gipsy influence, far from spoiling his lyricism, increased it. Fortunately, criticism left him undeterred, for he had to put up with accusations of being too gentle, of lacking guts and swing. People apparently expected him to demonstrate his blackness by playing with the expressionist ferocity of a Stuff Smith, whereas his natural style was the very opposite. Logically, Stephane Grappelli or Michel Warlop, exposed as they were to the music of a certain Django Reinhardt, should have inherited strong gipsy influences. In actual fact, the most gipsy of all was a black American by the name of Eddie South! A nice shake-up, this, for conventional wisdom, but one that meant South found himself marginalised. All the more so in view of his choice of repertoire, which made room for pieces of Central European origin (of which Hеjre Kati is one) and for tunes more closely associated with Latin America (Marcheta, Mama yo quiero un Novio...) than with Harlem. But, then, has it not been said that jazz (and swing) is not so much a matter of repertoire as of the very way you breathe? Over the ensuing years, Eddie South refined still further his totally personal way of breathings the rhythm of jazz. To such an extent that, when he was invited back to Paris in 1937 to take part in the Universal Exhibition, nothing seemed more natural than he should be assigned to the "Pavilion of Birds".
That was the very year that Charles Delaunay, aided by Hugues Panassie, had created his modest little record-label, Swing — a label dedicated to the promotion of jazz in all its forms. Now, Panassie adored Eddie South, and the opportunity to have him record alongside Grappelli and Warlop, not to mention that real gipsy, Django, was one not to be missed! South accepted the offer, and together they formed groups of various shapes and sizes. Three of those groups we have included here: first, a violin-guitar duo (Eddie's Blues); then, that same duo plus Grappelli, guitarist Roger Chaput and bassist Wilson Myers (Daphne); and, finally, from two months later, South, Grappelli and Django, supported by West Indian bassist Paul Cordonnie (Fiddle Blues). A superb festival of hot strings!
In early 1938, Eddie South was in Holland, and there he recorded once again, this time in the company of the "Pavilion of Birds" outfit: Paul Cordonnie, pianist David Martin, guitarist Isadore Langlois and drummer Tommy Benford. They cut three sides as a group, Honeysuckle Rose, On The Sunny Side Of The Street апd Fiddleditty and then South, accompanied by just the pianist, recorded a fourth side, Black Gipsy, a title that recounts chapters on where his real feelings lay.
But that year of 1938 was not among the most peaceful this century has seen, and, by now, American citizens — especially if they were Blacks or Jewish, or both — were in the process of putting an ocean between themselves and potential trouble. Eddie South, much to his personal regret, was one of these.
Once back home, he made appearances in New York, California and Chicago, this last his favourite American city of all, and one from which he made numerous radio and television broadcasts. It was also in Chicago that Eddie South ultimately died, on 25 April 1962. Exactly 22 years earlier, he had recorded a number of classics from the gipsy repertoire, discs that, judging by their rarity, did not sell particularly well. However, to bring the present collection to a close, we have preferred to include two attractive items from 1941 that, it would seem, have never previously been reissued. Lady Be Good and Stompin' At The Savoy 'lie close to the hearts of all swing players, but on neither title does our "Black Angel of the Violin" resist the temptation to impart distinct accents of the music that was his passion. The music of the gipsies, need we add?
Adapted from the French by Don Waterhouse
Код:
REM GENRE Swing
REM DATE 1993
REM DISCID 4D0FF617
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Eddie South"
TITLE "Black Gipsy 1927-1941"
FILE "01 - La Rosita.wav" WAVE
TRACK 01 AUDIO
TITLE "La Rosita"
PERFORMER "Eddie South"
PREGAP 00:00:32
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "The Voice of the Southland"
PERFORMER "Eddie South"
INDEX 00 03:03:38
FILE "02 - The Voice of the Southland.wav" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "By the Waters of Minnetonka"
PERFORMER "Eddie South"
INDEX 00 02:59:35
FILE "03 - By the Waters of Minnetonka.wav" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "My Ohio Home"
PERFORMER "Eddie South"
INDEX 00 02:57:60
FILE "04 - My Ohio Home.wav" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "That's What I Call Keen"
PERFORMER "Eddie South"
INDEX 00 03:13:60
FILE "05 - That's What I Call Keen.wav" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "Doin' the Raccoon"
PERFORMER "Eddie South"
INDEX 00 02:27:60
FILE "06 - Doin' the Raccoon.wav" WAVE
INDEX 01 00:00:00
TRACK 07 AUDIO
TITLE "Marcheta"
PERFORMER "Eddie South"
INDEX 00 02:56:27
FILE "07 - Marcheta.wav" WAVE
INDEX 01 00:00:00
TRACK 08 AUDIO
TITLE "Hejre Kati"
PERFORMER "Eddie South"
INDEX 00 03:04:72
FILE "08 - Hejre Kati.wav" WAVE
INDEX 01 00:00:00
TRACK 09 AUDIO
TITLE "Old Man Harlem"
PERFORMER "Eddie South"
INDEX 00 02:46:30
FILE "09 - Old Man Harlem.wav" WAVE
INDEX 01 00:00:00
TRACK 10 AUDIO
TITLE "No More Blues"
PERFORMER "Eddie South"
INDEX 00 03:18:25
FILE "10 - No More Blues.wav" WAVE
INDEX 01 00:00:00
TRACK 11 AUDIO
TITLE "Nagasaki"
PERFORMER "Eddie South"
INDEX 00 02:42:65
FILE "11 - Nagasaki.wav" WAVE
INDEX 01 00:00:00
TRACK 12 AUDIO
TITLE "My! Oh My!"
PERFORMER "Eddie South"
INDEX 00 02:28:70
FILE "12 - My! Oh My!.wav" WAVE
INDEX 01 00:00:00
TRACK 13 AUDIO
TITLE "Mama Mocking-Bird"
PERFORMER "Eddie South"
INDEX 00 03:02:38
FILE "13 - Mama Mocking-Bird.wav" WAVE
INDEX 01 00:00:00
TRACK 14 AUDIO
TITLE "Gotta Go!"
PERFORMER "Eddie South"
INDEX 00 03:28:38
FILE "14 - Gotta Go!.wav" WAVE
INDEX 01 00:00:00
TRACK 15 AUDIO
TITLE "Eddie's Blues"
PERFORMER "Eddie South"
INDEX 00 02:38:22
FILE "15 - Eddie's Blues.wav" WAVE
INDEX 01 00:00:00
TRACK 16 AUDIO
TITLE "Daphne"
PERFORMER "Eddie South"
INDEX 00 03:05:60
FILE "16 - Daphne.wav" WAVE
INDEX 01 00:00:00
TRACK 17 AUDIO
TITLE "Fiddle Blues"
PERFORMER "Eddie South"
INDEX 00 02:59:70
FILE "17 - Fiddle Blues.wav" WAVE
INDEX 01 00:00:00
TRACK 18 AUDIO
TITLE "Honeysuckle Rose"
PERFORMER "Eddie South"
INDEX 00 02:43:42
FILE "18 - Honeysuckle Rose.wav" WAVE
INDEX 01 00:00:00
TRACK 19 AUDIO
TITLE "On the Sunny Side of the Street"
PERFORMER "Eddie South"
INDEX 00 03:04:30
FILE "19 - On the Sunny Side of the Street.wav" WAVE
INDEX 01 00:00:00
TRACK 20 AUDIO
TITLE "Black Gipsy"
PERFORMER "Eddie South"
INDEX 00 03:00:53
FILE "20 - Black Gipsy.wav" WAVE
INDEX 01 00:00:00
TRACK 21 AUDIO
TITLE "Fiddleditty"
PERFORMER "Eddie South"
INDEX 00 02:26:23
FILE "21 - Fiddleditty.wav" WAVE
INDEX 01 00:00:00
TRACK 22 AUDIO
TITLE "Lady, Be Good"
PERFORMER "Eddie South"
INDEX 00 02:42:47
FILE "22 - Lady, Be Good.wav" WAVE
INDEX 01 00:00:00
TRACK 23 AUDIO
TITLE "Stompin' at the Savoy"
PERFORMER "Eddie South"
INDEX 00 03:13:20
FILE "23 - Stompin' at the Savoy.wav" WAVE
INDEX 01 00:00:00
Код:
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 10. March 2010, 11:05
Eddie South / Black Gipsy 1927-1941
Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 0 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.32 | 3:04.60 | 32 | 13891
2 | 3:05.17 | 3:00.60 | 13892 | 27451
3 | 6:06.02 | 2:59.30 | 27452 | 40906
4 | 9:05.32 | 3:15.20 | 40907 | 55551
5 | 12:20.52 | 2:29.43 | 55552 | 66769
6 | 14:50.20 | 2:57.55 | 66770 | 80099
7 | 17:48.00 | 3:06.25 | 80100 | 94074
8 | 20:54.25 | 2:47.45 | 94075 | 106644
9 | 23:41.70 | 3:19.60 | 106645 | 121629
10 | 27:01.55 | 2:44.05 | 121630 | 133934
11 | 29:45.60 | 2:29.67 | 133935 | 145176
12 | 32:15.52 | 3:04.35 | 145177 | 159011
13 | 35:20.12 | 3:29.63 | 159012 | 174749
14 | 38:50.00 | 2:39.50 | 174750 | 186724
15 | 41:29.50 | 3:07.47 | 186725 | 200796
16 | 44:37.22 | 3:01.43 | 200797 | 214414
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22 | 61:42.37 | 3:14.45 | 277687 | 292281
23 | 64:57.07 | 3:09.00 | 292282 | 306456
Track 1
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\01 - La Rosita.wav
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Track 2
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\02 - The Voice of the Southland.wav
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Track 3
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\03 - By the Waters of Minnetonka.wav
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Track 4
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\04 - My Ohio Home.wav
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Track 5
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\05 - That's What I Call Keen.wav
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Track 6
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\06 - Doin' the Raccoon.wav
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Track 7
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\07 - Marcheta.wav
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Track 8
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\08 - Hejre Kati.wav
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Track 9
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\09 - Old Man Harlem.wav
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Track 10
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\10 - No More Blues.wav
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Track 11
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\11 - Nagasaki.wav
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Track 12
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\12 - My! Oh My!.wav
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Track 13
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\13 - Mama Mocking-Bird.wav
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Track 14
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\14 - Gotta Go!.wav
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Track 15
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\15 - Eddie's Blues.wav
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Track 16
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\16 - Daphne.wav
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Track 17
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\17 - Fiddle Blues.wav
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Track 18
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\18 - Honeysuckle Rose.wav
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Track 19
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\19 - On the Sunny Side of the Street.wav
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Track 20
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\20 - Black Gipsy.wav
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Track 21
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\21 - Fiddleditty.wav
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Track 22
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\22 - Lady, Be Good.wav
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Track 23
Filename D:\music\Musicgate's rips\Eddie South - Black Gipsy 1927-1941 (Jazz Archives 70, 1993)\23 - Stompin' at the Savoy.wav
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Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
За своими раздачами не слежу, и старые топики не читаю - если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш.
Заботьтесь о своем рейтинге - конвертируйте в мп3 и выкладывайте в соответствующем разделе
