Eddie South & His International Orchestra - The Cheloni Broadcast Transcriptions CD1 (1933)

Genre: Jazz | Total Time: 1:05:47 | Size: 166.26 MB | MP3 320 kbps
Program 1 [stamper B-597-A]
1. Theme 0:29
2. Ay! Mama Ines [aka Mama Inez] (Gilbert, Grenet) - ensemble (vocal noises) - rumba 2:01
3. What a Perfect Combination (Kalmar, Caesar, Akst, Ruby) - South (vocal) 1:49
4. A Sleepy Little Village (Wesley) - Barksdale (vocal) 4:08
5. Dark Eyes (trad. Russian, arr. South) 1:47
6. Theme 0:57

Program 2 [stamper B-601-A]
7. Theme 0:25
8. Star Dust [aka Stardust] (Parish, Carmichael) 4:45
9. When It’s Sleepy Time Down South (Rene, Rene, Muse) 3:04
10. La Luna de Brasil (?South) - introduced as a maxixe but see note entitled The Maxixe 2:12
11. Theme 0:15

Program 3 [stamper B-598-A]
12. Theme 0:28
13. Lady of Spain (Hargreaves, Evans, Damerell, Tilsley) - paso doble 1:56
14. The Russian Rag (Cobb) 1:53
15. There’s a Million Little Cupids (Blake) 3:18
16. Body and Soul (Heyman, Sour, Eyton, Green) - South, Spaulding only 2:52
17. Theme 0:16

Program 4 [stamper B-605-A]
18. Theme 0:26
19. A Media Luz (Donato, Lenzi) - tango 1:55
20. Let’s Try Again (Newman, Jones) 4:30
21. Pardon, Madame! (Graham, Grьnwald, Beda, Abraham) 1:59
22. Stop the Sun, Stop the Moon (Cook, Cook, Robinson) 2:11
23. Theme 0:15

Program 5 [stamper B-599-A]
24. Theme 0:27
25. Two Guitars (trad. Russian, arr. South) - ensemble (vocal shout) 2:08
26. Goofus (Kahn, King, Harold) 2:04
27. Mardi Gras (Grofe) [later aka Daybreak (Adamson, Grofe)] 3:17
28. Sylvia (Scollard, Speaks, Oley) - South, Barksdale only 2:24
29. Theme 0:17

Program 6 [stamper B-612-A]
30. Theme 0:31
31. Till Tomorrow (Campbell, Connelly, Malneck] - South vocal 4:40
32. Kiss Me Again (Blossom, Herbert) 3:34
33. Esta Noche Me Emborracho [announced as Argentine Tango because South forgets the title] 2:23 (Discepolo) - tango
34. Theme 0:11

Recorded January, 1933 - March, 1933

Clifford King (clarinet, vocal), Eddie South (violin, vocal), J. Wright Smith (ensemble violin), Antonio Spaulding (piano, celesta), Everett Barksdale (guitar, vocal), Milt Hinton (string bass, vocal), Jimmy Bertrand (drums, percussion).
Eddie South was one of the earliest jazz violinists—he recorded in 1923 (Joe Venuti, often thought of as the earliest, didn't record until 1924) and one of the first African/American jazz musicians to play extensively in Europe. South was also a highly-trained violinist, having studied at the Chicago College of Music and the Paris Conservatory; if South had been white, he may well have never played jazz, but become a concert violinist.

At the end of 1932, South brought his International Orchestra out to Los Angeles for an engagement at the Ballyhoo and while there, in the first three months of 1933, recorded a number of fifteen-minute radio shows sponsored by Cheloni, a cosmetic cream. The music—sans commercials but with announcements—from the sixteen extant sixteen-inch transcription discs make up this album's three CDs. The orchestra consists of South and J. Wright Smith (ensembles only) on violin; Clifford King (clarinet), Antonio Spaulding (piano and celesta), Everett Barksdale (guitar), Milt Hinton (bass) and Jimmy Bertrand (drums).

The repertoire isn't particularly jazzy, more a snapshot of a commercially successful band of the times. South's band seems to have specialized in tangos and rumbas too, with almost every one of the sixteen programs featuring at least one. The majority of the other selections were recent popular songs, including a few waltzes. South's playing is technically impressive throughout, romantically rhapsodic on the slow tunes; no wonder Paul Whiteman called him "the dark angel of the violin."

On the few up-tempo numbers, South proves he could play "hot as well as the best of jazz's early stars. The vocals, and there are quite a few, are nothing to write home about, more pop of the times than jazz. But South himself wasn't bad; he's at his vocal best on the seldom-heard Carmichael/Mercer "Thanksgivin'." And included is a historical curiosity: the first recorded Hinton vocal, on "Throw A Little Salt on the Bluebird's Tail," demonstrating a definite Louis Armstrong influence, right down to the scat phrases.
GEORGE KANZLER, www.allaboutjazz.com

All of these performances were recorded at Recordings Inc. Studios, Hollywood, Los Angeles between January and March 1933. The original discs are 16? long-play electrical transcriptions pressed but not recorded by Columbia. The labels and announcements identify the programs as: Cheloni Skin Presents Eddie South and His International Orchestra. “Weaver-Jackson presents a program for Cheloni-Skin Rejuvenator.”

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