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Jack Teagarden | |
|---|---|
 Teagarden c. 1944 | |
| Background information | |
| Born | Weldon Leo Teagarden (1905-08-20)August 20, 1905 Vernon, Texas, U.S. |
| Died | January 15, 1964(1964-01-15) (aged 58) |
| Genres | |
| Occupation | Musician |
| Instruments | |
| Years active | 1920–1964 |
| Formerly of |
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| Website | jackteagarden |
Weldon Leo "Jack"Teagarden (August 20, 1905 – January 15, 1964) was an Americanjazztrombonist and singer.[1][2] He led both of his bands himself and was asideman forPaul Whiteman's orchestra. From 1946 to 1951, he played inLouis Armstrong's All-Stars.[2][1]
Jack Teagarden was born inVernon, Texas, the oldest of four children.[2] His siblings also pursued musical careers:Charlie playedtrumpet,Norma playedpiano, and Clois ("Cub") playeddrums.[1]
Teagarden's father, Charles, worked in the oil fields and played cornet part-time, while his mother, Helen, was a semi-professional pianist who accompanied silent films in local theaters.[3] Charles encouraged Teagarden to play thebaritone horn. At age eight, Jack received his first trombone as a Christmas gift, transitioning from thetenor-valve horn to thetrombone. His first public performances were in his local theaters, helping his mother provide music for silent films.[4] After his father's death, the family moved toChappell, Nebraska where he and his mother continued working in theaters.[5]
Teagarden, who had relatively short arms, avoided a traditional "tailgate" approach in which trombonists played with abundantglissandos. Instead, he compensated with exceptional embouchure control and trumpet-like phrasing, which distinguished him from other players.[1][6]
Teagarden became the youngest member of the Paul Goetze Band at age 11.[7]
At the age of 16, Teagarden began playing the trombone professionally inSan Antonio as a member of Cotton Bailey's dance and jazz band.[5] During his early career, Teagarden played at such venues as the Horn Palace in San Antonio, where he formed a close bond with clarinetist George Hill. After his time with Bailey's band, Teagarden joinedPeck Kelley's ensemble, a group that included several of his close collaborators.[8][2]
Kelley's mentorship and Teagarden's approach to trombone playing helped establish his reputation. The young trombonist's phrasing and improvisational skills made him a sought-after performer, which helped Teagarden to eventually collaborate with players likeLouis Armstrong.[8] In the mid-1920s, he traveled widely around the United States in various bands. In 1927, he came to New York City to work with several other bands, and by 1928, he was playing with theBen Pollack band.[2]
While a member of Pollack's band, Teagarden recorded over 300 tracks. He also participated in one of the first integrated jazz recording sessions in 1929, organized byEddie Condon, which produced the track "Knocking a Jug". Teagarden's career continued withPaul Whiteman's orchestra, though the band's limited jazz repertoire prompted him to leave after a five-year contract.[9]
In the late 1920s, he recorded with musicians such as Louis Armstrong,Benny Goodman,Bix Beiderbecke,Red Nichols,Jimmy McPartland,Mezz Mezzrow,Glenn Miller,Eddie Condon, andFats Waller. In 1931, Teagarden's own orchestra recorded the tune "Chances Are" withFats Waller playing piano and Jack singing and playing trombone. Miller and Teagarden collaborated to provide lyrics toSpencer Williams' "Basin Street Blues", which became one of Teagarden's most frequently played numbers.[2]
During theGreat Depression, Teagarden sought financial security and signed an exclusive contract to play for thePaul Whiteman Orchestra from 1933 through 1938.[2] In 1946, Teagarden joined Louis Armstrong's All-Stars.[2]
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During his tenure with Louis Armstrong's All-Stars, Teagarden demonstrated versatility as a trombonist and vocalist. His relaxed style was reminiscent of the blues and is prominent in his collaborations with Armstrong, such as their rendition of "Rockin' Chair." In late 1951, Teagarden left to again lead his own band.[2]
Teagarden was found dead in his hotel room in New Orleans on January 15, 1964, just hours before he was scheduled to perform. He was 58 years old and actively touring at the time of his death,[10] which was later attributed to bronchial pneumonia.[11][5] Teagarden was honored with tributes from musicians and fans.[12]
TheLos Angeles Times noted that Teagarden was celebrated for his innovations in trombone technique and his soulful, blues-inflected vocals.[10]
Largely self-taught,[13] Teagarden developed unusual alternative positions and special effects on the trombone. He is considered an innovative jazz trombone stylist of the pre-bebop era.[citation needed]Pee Wee Russell called him "the best trombone player in the world".[14]
Jack Teagarden's trombone playing did not follow traditional Dixieland style. Instead, he adopted characteristics of his own, including upper register solos, not using a strict solo beat, and lip trills.[5] Growing up in an area with a large Black population, Teagarden developed an appreciation for Black music, especially blues and gospel, and was one of the first jazz musicians to incorporateblue notes into his playing.[5] Critics praised Teagarden for his blues-like smoothness and fluidity,[citation needed] as well as his ability to seamlessly integrate into ensembles when soloing. In addition to playing trombone, Teagarden was also a jazz vocalist.[15]
Jack Teagarden's trombone playing combined smooth, horizontal melodic phrasing with a distinctive use of vertical, arpeggiated lines.[citation needed] His improvisational style, showcased in performances like his 1953 solo on "Lover," was characterized by a balance of technical skill and melodic fluidity. Critics have highlighted his warm, vocal-like tone throughout his performances.[16]
Jack Teagarden performed for diverse audiences, including royal families in Cambodia and Thailand.[citation needed] Despite facing many challenges, including financial struggles during the Great Depression, Teagarden viewed the acceptance of jazz as a cultural achievement.[8]
Jazz historianGunther Schuller described Teagarden as possessing "effortless sovereign technical mastery, richness of tone, and a total lack of exhibitionism."[citation needed] His influence is evident in the work of later jazz trombonists.[16]
TrombonistTommy Dorsey reportedly altered his own style to avoid being compared to Teagarden, andGlenn Miller downplayed his trombone skills after working alongside Teagarden in Ben Pollack's band.[17] Gunther Schuller praised Teagarden's ability to combine technical brilliance with emotional depth.[9]
In the years following his passing, the legacy of his recordings and performances remained.[12] TheLos Angeles Times highlighted his contributions to the trombone's role within jazz ensembles, and his recordings, including collaborations with Louis Armstrong, are considered to be substantially important to jazz history.[10]
In 1969 Jack Teagarden was inducted into theDownBeat Jazz Hall of Fame[18] and theBig Band and Jazz Hall of Fame in 1985.
Source:[8]
Media related toJack Teagarden at Wikimedia Commons