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Eddie South (Edward Otha) 1904

27/11/2020

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Violinista, direttore d’orchestra e compositore statunitense (Louisiana, Missouri, 27.11.1904 – Chicago, Illinois, 25.4.1962). Enfant prodige del violino, cresce a Chicago. Avrebbe voluto intraprendere una carriera di concertista classico ma, all’epoca, non era molto facile per un nero. Si volge quindi al jazz, i cui elementi fondamentali gli vengono insegnati da Darnell Howard (in seguito da Charles Elgar e T. Powers).

A Chicago, lavora con Elgar, Erskine Tate e Mae Brady, prima di diventare direttore musicale dei Syncopators del trombettista Jimmy Wade al Moulin Rouge Café (1924-27). In loro compagnia, incide, i suoi primi dischi per la Paramount (1924). Nel 1927 costituisce gli Alabamians, piccolo gruppo che non includeva ottoni.

Lavora anche, per poco (inizio 1928), per Erskine Tate e nel quartetto di Gilbert McKendrick. Dopo aver inciso alcuni brani per la Victor con il suo piccolo gruppo (1927-28), viene in Europa (Ungheria e Francia) a studiare la musica zigana che lo affascina. Suona a Parigi con la propria orchestra, dove incide (1929). Nel 1930 si reca in tournée anche in Inghilterra.

Di ritorno a Chicago nel 1931, riprende le attività con gli Alabamians (di cui fa parte Everett Barksdale), che conduce fino in California (1932). Per diversi anni, South si dedica all’accompagnamento di cantanti, quindi ritorna in Europa nel 1937, invitato all’esposizione universale. Si esibisce al Pavillon des Oiseaux, a Parigi, e incide per la Swing, in compagnia di Django Reinhardt, Stéphane Grappelli e Michel Warlop.

Dopo un breve soggiorno nei Paesi Bassi (1938), ritorna negli Stati Uniti, lavorando soprattutto con proprie formazioni a Chicago, New York e Los Angeles, negli anni ’40 e ’50. Si esibisce regolarmente in alcune serie di trasmissioni radiofoniche e televisive. Nonostante le sue precarie condizioni di salute, continuerà a lavorare fino alla morte.

Eddie South rimane senza dubbio il più sottile virtuoso del violino jazz. La sua formazione classica lo induce a sviluppare uno swing estremamente leggero. Grande melodista dalla sonorità pura e tenera, gli interessa innanzitutto far cantare lo strumento. Lungi dal guastare il suo stile – come è stato detto – l’influenza della musica zigana lo ha, in un certo senso, arricchito di lirismo.

“L’angelo nero del violino” non è stato tuttavia sempre seguito dalla critica, la quale gli rimprovera una certa vaghezza, troppo manierismo e mancanza di swing. Affermazioni smentite dalla maggior parte delle sue incisioni.
​
[D. N.]
American violinist, conductor, and composer (Louisiana, Missouri, 27.11.1904 - Chicago, Illinois, 25.4.1962). Enfant prodige of the violin, he grew up in Chicago. He would have liked to pursue a career as a classical concert player, but, at the time, it was not very easy for a black man. He then turned to jazz, the fundamental elements taught to him by Darnell Howard (later by Charles Elgar and T. Powers).

In Chicago, he worked with Elgar, Erskine Tate, and Mae Brady, before becoming music director of the trumpeter Jimmy Wade's Syncopators at the Moulin Rouge Café (1924-27). In their company, he recorded his first records for Paramount (1924). In 1927 he formed the Alabamians, a small group that did not include brass.

He also works, briefly (early 1928), for Erskine Tate and in the Gilbert McKendrick quartet. After having recorded some pieces for Victor with his small group (1927-28), he comes to Europe (Hungary and France) to study the gypsy music that fascinates him. He plays in Paris with his orchestra, where he records (1929). In 1930 he also went on tour in England.

Returning to Chicago in 1931, he resumed activities with the Alabamians (which included Everett Barksdale), leading to California (1932). For several years, South dedicated himself to singers' accompaniment, then returned to Europe in 1937, invited to the universal exhibition. In Paris, he performs at the Pavillon des Oiseaux and records for Swing, in Django Reinhardt, Stéphane Grappelli, and Michel Warlop.

After a short stay in the Netherlands (1938), he returned to the United States, working mainly with his training groups in Chicago, New York, and Los Angeles in the 1940s and 1950s. He regularly performs in some series of radio and television broadcasts. Despite his poor health, he will continue to work until his death.

Eddie South remains arguably the most subtle jazz violin virtuoso. His classical training causes him to develop a too light swing. Great melodist with a pure and tender sonority, he is first interested in making the instrument sing. Far from spoiling his style - as has been said - the influence of Gypsy music has, in a certain sense, enriched him with lyricism.

However, "The black angel of the violin" was not always followed by critics. Who criticizes him for a certain vagueness, too much mannerism, and lack of Swing. Claims were disproved by most of his etchings.
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[D. N.]
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