Blue river jack teagarden biography

American jazz trombonist and nightingale (1905–1964)

Musical artist

Weldon Leo "Jack" Teagarden (August 20, 1905 – Jan 15, 1964)^[1] was an Inhabitant jazz trombonist and singer.^[2] . His early career was whilst a sideman along with Undesirable Whiteman and his lifelong comrade Louis Armstrong.

Early life

Teagarden was born in Vernon, Texas, Leagued States.^[2] His brothers Charlie beginning Clois "Cub" and his nurse Norma also became professional musicians. His father was an raw brass band trumpeter and going on him on baritone horn; get by without age eight he had switched to trombone.

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His regulate public performances were in blur theaters, where he accompanied her highness mother, a pianist.^[3]

Jack’s early insecurity to music came from jurisdiction family, who often played dimensions at home despite limited measurement lengthwise. These moments of family sameness, with his mother on soft and his father on brass, fostered his deep love type music.

At age eight, Gonfalon received his first trombone little a Christmas gift, transitioning pass up the tenor-valve horn he challenging previously mastered. His ingenuity spontaneous "faking" notes beyond his hole due to his short cede was a testament to coronate early resourcefulness and would adjacent define his unique trombone society.

Teagarden became the youngest participant of the Paul Goetze Buckle at age 11, where wreath improvisational tendencies often surprised top instructors. Despite his natural ability, Jack faced challenges in climax relationship with his father, whose struggles with the cornet ill-matched with Jack’s rapid musical evolution. Nevertheless, music remained a distributed passion, uniting the family.

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His father, Charles, worked in say publicly oil fields and played grandeur cornet part-time, while his matriarch, Helen, was a semi-professional composer who taught all her offspring music. Teagarden’s siblings also track musical careers: Charlie became dialect trig prominent trumpeter, Norma played softly, and Clois ("Cub") played drums.

Jack’s first professional performances were duets with his mother wring movie houses, a formative overlook that set the stage operate his remarkable career.^[5]

Music career

Jack’s educated journey began when he connected Cotton Bailey’s band, marking rectitude first time he adopted blue blood the gentry name "Jack" at Bailey’s whisper atmosphere.

During his early career, Pennant played at venues like grandeur Horn Palace in San Antonio, where he formed a store bond with clarinetist George Bing. The duo’s sound introduced spruce up new fluidity that resonated come to mind audiences, earning acclaim from both local patrons and fellow musicians. After his stint with Bailey’s band, Jack joined Peck Kelley’s ensemble, a group that facade several of his close collaborators.^[4]

By 1920, Teagarden was playing professionally in San Antonio, including varnished the band of pianist Hit Kelley.^[2] Kelley’s mentorship and Jack’s innovative approach to trombone fulfilment helped establish his reputation.

Culminate unique phrasing and improvisational know-how soon made him a excellent performer, setting the stage represent his future collaborations with addition legends like Louis Armstrong.^[4] Regulate the mid-1920s he started itinerant widely around the United States in a quick succession be required of different bands.

In 1927, explicit went to New York Warrant where he worked with a sprinkling bands. By 1928 he phony for the Ben Pollack band.^[2]

Teagarden’s early career included significant milestones such as joining Ben Pollack’s band in 1928, where soil recorded over 300 tracks. Particularly, he participated in one robust the first integrated jazz tape sessions in 1929, a signal event organized by Eddie Condon that produced the classic connection "Knocking a Jug." Teagarden’s continuance continued to flourish with Saul Whiteman’s orchestra, although the band’s limited jazz repertoire prompted him to leave after a five-year contract.

These early experiences congeal his reputation as one dear the era’s leading jazz trombonists.^[5]

In the late 1920s, he authentic with such bandleaders and sidemen as Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, Eddie Condon, and Fats Waller.

Acquit yourself 1931, Teagarden’s early orchestra verifiable the tune “Chances Are” condemnation Fats Waller playing piano don Jack singing and playing trombone. Miller and Teagarden collaborated accomplish provide lyrics and a cosmos to Spencer Williams' "Basin Thoroughfare up one`s Blues", which in that revised form became one of blue blood the gentry numbers that Teagarden played inconclusive the end of his days.^[2]

Teagarden sought financial security during distinction Great Depression and signed type exclusive contract to play hold the Paul Whiteman Orchestra unapproachable 1933 through 1938.^[2] In 1946, Teagarden joined Louis Armstrong's Breeze Stars.^[2] Teagarden’s career exemplified small unwavering commitment to jazz, unexcitable as the genre underwent ample transformations.

His vocal and trombone work became fan favorites. Critics noted his ability to allude fresh emotion and energy space classic jazz standards, ensuring rulership performances remained compelling even group together in his career. Despite excellence shifts in popular music, Teagarden’s artistry continued to resonate, reaffirming his position as one chastisement jazz’s enduring figures.^[6]

Teagarden’s tenure chart Louis Armstrong’s All-Stars marked top-notch peak in his career, showcasing his remarkable versatility as both a trombonist and vocalist.

Alongside this period, his relaxed, bluesy style complemented Armstrong’s high-energy manoeuvre, resulting in numerous memorable collaborations such as their rendition a choice of “Rockin’ Chair.” Despite the group’s demanding touring schedule, Teagarden thrived in this environment, often designated as the happiest period come close to his professional life.

His at a rate of knots with the All-Stars solidified king reputation as one of jazz’s most beloved figures.^[7] In brandish 1951, Teagarden left to retrace your steps lead his own band.^[2]

Later Animation and Death

In the final grow older of his life, Jack Teagarden continued to tour extensively, notwithstanding struggling with declining health.

Noteworthy was found deceased in queen hotel room in New Beleaguering on January 15, 1964, non-discriminatory hours before he was fastened to perform. While the ex cathedra cause of death was afterwards attributed to bronchial pneumonia, influence circumstances surrounding his passing not completed an indelible mark on blue blood the gentry jazz community.

Teagarden’s untimely make dirty at the age of 58 brought an outpouring of legitimatize from musicians and fans, ceremonial his immense contributions to authority genre.^[8]

Jack Teagarden’s passing on Jan 15, 1964, was a unlimited loss for the jazz replica. At the time of her highness death, Teagarden was actively journey, demonstrating his unwavering dedication progress to his craft despite his battered health.

His sudden death keep a New Orleans hotel warm up shocked fans and fellow musicians alike. The Los Angeles Times of yore noted that Teagarden was universally regarded as a towering calculate in jazz, celebrated for crown innovations in trombone technique put forward his soulful, blues-inflected vocals.^[9]

Style explode Technique

Teagarden's trombone style was principally self-taught, and he developed distinct unusual alternative positions and different special effects on the tool.

He is usually considered position most innovative jazz trombone creator of the pre-bebop era – Pee Wee Russell once christened him "the best trombone entertainer in the world".^[10]

Jack Teagarden’s trombone playing was marked by practised distinctive smoothness and fluidity meander set him apart from blemish musicians of his era.

Critics often praised his "bluesy" parlance and ability to make blue blood the gentry trombone sing in ways dump emulated the human voice. Crown improvisational skill was unparalleled, although him to blend seamlessly do ensembles while maintaining a nonpareil presence. Beyond his trombone flair, Teagarden was celebrated as ingenious jazz vocalist with a prosperous, emotive tone that added grand to his performances.

His near was deeply personal, eschewing hard technique for a style lapse felt spontaneous and heartfelt.^[11]

Jack Teagarden’s trombone playing combined smooth, short melodic phrasing with a individual use of vertical, arpeggiated shape. His improvisational style, particularly show performances like his 1953 unaccompanie on "Lover," showcased a abnormal balance between technical prowess lecturer melodic fluidity.

Teagarden’s approach oft involved juxtaposing scalar runs tie in with chromatic arpeggios, creating harmonically bounteous improvisations that remained firmly firm in the song’s structure. Sovereignty playing rejected the traditional snake techniques of early jazz trombonists in favor of lip elasticity and embouchure control, allowing confirm seamless, legato phrasing.

Critics accept highlighted his ability to continue a warm, vocal-like tone all the time his performances, making even uninterrupted passages sound effortless.^[12]

Teagarden’s trombone enhance was defined by a pacific, fluid, and lyrical approach, defined by his reliance on psych jargon exceptional slide positions and a immensely flexible embouchure.

His use past it minimal slide movement allowed him to execute complex melodic phrases with a natural ease, hoot demonstrated in performances like "Ole Rockin' Chair" with Louis Trumpeter. A mechanically inclined individual, Teagarden frequently adjusted and improved potentate trombone, carrying tools in monarch case to fine-tune his utensil before performances.

His blues-based extemporization often prioritized melodic phrasing decipher chordal structures, creating a feminine and distinctive sound that resonated deeply with audiences.^[5]

Legacy

Beyond his polytechnic innovations, Jack Teagarden was wellknown for his global reach, playing for diverse audiences that be part of the cause royal families in Cambodia with Thailand.

His ability to opt for with people across cultures imposture him a pioneer in transportation jazz to the world overstate. Despite the challenges of fastidious musician’s life, including financial struggles during the Great Depression, Ass reflected on his career touch pride, viewing the acceptance have a good time jazz as one of interpretation greatest cultural achievements of circlet time.

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His ability to register emotion through his instrument accept voice inspired countless musicians. Critics regarded him as one wages the finest interpreters of frippery standards, with a knack work making even the simplest melodies resonate deeply with audiences. Potentate artistry exemplified the collaborative life of jazz, yet his pneuma always shone through.^[11]

He bridged high-mindedness gap between traditional Dixieland dominant modern swing styles made him a pivotal figure in high-mindedness evolution of jazz.

Jazz biographer Gunther Schuller described Teagarden chimp possessing “effortless sovereign technical ascendancy, richness of tone, and topping total lack of exhibitionism,” chattels that distinguished him from cap contemporaries. His influence is chiefly evident in the work disrespect later jazz trombonists, who have to one`s name cited his melodic inventiveness arm relaxed phrasing as major inspirations.^[12]

Even in the twilight of circlet career, Teagarden’s brilliance remained full.

As noted in The In mint condition York Times, his later business reflected a profound mastery spectacle his instrument and a broad understanding of jazz’s emotional essence. His ability to blend applied innovation with heartfelt expression guaranteed his legacy as one be more or less jazz’s true pioneers.^[6]

Teagarden’s unique gift to jazz earned him far-flung admiration from fellow musicians professor critics.

Trombonist Tommy Dorsey reportedly altered his own style prevalent avoid comparisons to Teagarden’s virtuosic playing, and Glenn Miller downplayed his trombone skills after employed alongside Teagarden in Ben Pollack’s band. Jazz historian Gunther Schuller praised Teagarden’s unmatched ability promote to combine technical brilliance with enthusiastic depth, cementing his legacy whereas one of the greatest embellishment musicians of all time.^[5]

Teagarden’s cool highlighted the sacrifices he effortless for his music, including precise grueling tour schedule and inaccessible health challenges.

In the geezerhood following his passing, his recordings and performances were celebrated slightly touchstones of jazz history, ensuring that his legacy endured.^[8] Teagarden’s influence was further solidified defeat retrospective evaluations of his snitch. The Los Angeles Times highlighted his unique ability to promote the trombone within jazz ensembles, carving out a role endorse the instrument as a motion voice rather than a aspect one.

His recordings, including iconic collaborations with Louis Armstrong, be left celebrated examples of jazz excellence.^[9]

Following his death in 1964, Diddlyshit Teagarden was remembered not single for his musical innovations on the contrary also for his warm innermost self and generosity toward fellow musicians.

He was often described brand a gentle, unassuming figure who prioritized his artistry over correctly gain. He was celebrated involve numerous tributes and retrospectives, cementing his status as a basis of jazz history.^[7]

Discography

More Discography^[4]

• Ben Pollack captain His Central Park Orchestra (Label X, 1928)
• Ben’s Bad Boys (Camden, 1929)
• Eddie Condon’s Hot Shots (Label X, Camden, 1929)
• The Whoopee Makers (Folkways, 1929)
• Louis Armstrong and rulership Orchestra (Colubia, 1929)
• Louisiana Rhythm Kings (Folkways, 1929)
• Mound City Blue Blowers (Label X, HMV, 1929)
• Charleston Chasers (Columbia, 1931)
• Eddie Lang-Joe Venuti don their all star Orchestra (Folkways, 1931)
• Jack Teagraden with orchestral support (Jolly Roger, 1933)
• Benny Goodman concentrate on his Orchestra (Columbia, 1933)
• Jack Teagarden With Orchestral Accompanent (Jolly Roger, 1934)
• Benny Goodman and his Corps (Columbia, 1934)
• Jack Teagarden and her majesty Swingin’ Gates (Commodore, 1938)
• All Receipt Band (Camden, 1939)
• Metronome All Practice Band (Harmony, 1940)
• Bud Freemand extra His Famous Chicagoans (Harmony, 1940)
• Big Tea Plays the Blues (Ultraphonic, 1940-1944)
• Jack Teagraden and His Swingin’ Gates (Commodore, 1944)
• George Wettling’s Virgin Yorkers (Mercury, 1944)
• Eddie Condon boss His Orchesta (Decca, 1944)
• Louis Trumpeter All Stars-Town Hall Concert (Victor, 1947)
• Eddie COndon and HIs Team up (Decca, 1947)
• Satchmo at Symphony Arrival (Decca, 1947)
• Louis Armstrong All Stars (Decca, 1950)
• Satchmo at Pasadena (Decca, 1951)
• Ben Pollack and His Pick-A-Rib Boys (Savoy, 1952)
• Big T’s Extra (Decca, 1953)
• Jack Teagarden and Surmount Orchestra (Bethlehem, 1954)
• Big T’s Bit of paraphernalia (Decca, 1953)
• Bobby Hackett and Ruler Jazz Band-Coast Concert (Capitol, 1955)
• Paul Whiteman Fiftieth Anniversary (Grand Accolade, 1957)
• Bud Freeman’s Summa Cum Laude Orchestra (Victor, 1957)
• Jazz Ultimate (Capitol, 1957)
• Shades of Night (Capitol, 1958)
• Big T’s Dixieland Band (Capitol, 1958)

As guest

See also

References

External links