Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) was an American jazz musician who played the trombone and sang. He led his own bands and also played with Paul Whiteman's orchestra as a sideman. From 1946 to 1951, he performed with Louis Armstrong's All-Stars.

Early life

Jack Teagarden was born in Vernon, Texas, and was the oldest of four children. His brothers and sister also worked in music: Charlie played the trumpet, Norma played the piano, and Clois ("Cub") played the drums.

Jack’s father, Charles, worked in the oil fields and played the cornet part-time. His mother, Helen, was a semi-professional pianist who played music for silent films in local theaters. Charles encouraged Jack to play the baritone horn. At age eight, Jack received a trombone as a Christmas gift, changing from the tenor-valve horn to the trombone. His first public performances were in local theaters, where he helped his mother provide music for silent films. After his father’s death, the family moved to Chappell, Nebraska. There, Jack and his mother continued working in theaters.

Jack had shorter arms, so he avoided a common style where trombonists used many sliding notes (glissandos). Instead, he used excellent embouchure control and played with a style similar to a trumpet, which made him stand out from other players.

At age 11, Jack became the youngest member of the Paul Goetze Band.

Music career

At the age of 16, Teagarden started playing the trombone professionally in San Antonio as part of Cotton Bailey's dance and jazz band. Early in his career, he performed at places like the Horn Palace in San Antonio, where he developed a strong friendship with clarinetist George Hill. After leaving Bailey's band, Teagarden joined Peck Kelley's ensemble, which included many of his future musical partners.

Kelley's guidance and Teagarden's unique way of playing the trombone helped build his reputation. His ability to play smoothly and create music on the spot made him a popular performer, leading to opportunities to work with musicians like Louis Armstrong. In the mid-1920s, he traveled across the United States with various bands. In 1927, he moved to New York City to join other bands, and by 1928, he was performing with the Ben Pollack band.

While part of Pollack's band, Teagarden recorded more than 300 songs. He also took part in one of the first jazz recording sessions that included musicians of different backgrounds in 1929, organized by Eddie Condon, which resulted in the track "Knocking a Jug." Teagarden continued his career with Paul Whiteman's orchestra, but he left after five years because the band played few jazz songs.

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, and Fats Waller. In 1931, Teagarden's own orchestra recorded the song "Chances Are" with Fats Waller on piano and Jack playing trombone and singing. Teagarden and Miller also helped write lyrics for Spencer Williams' "Basin Street Blues," a piece that became one of Teagarden's most well-known performances.

During the Great Depression, Teagarden sought financial stability and signed an exclusive contract with the Paul Whiteman Orchestra from 1933 to 1938. In 1946, he joined Louis Armstrong's All-Stars.

While working with Louis Armstrong's All-Stars, Teagarden showed his ability to play the trombone and sing in different styles. His relaxed, blues-inspired playing was especially noticeable in his work with Armstrong, such as their version of "Rockin' Chair." In late 1951, Teagarden left to lead his own band again.

Later life and death

Teagarden was found dead in his hotel room in New Orleans on January 15, 1964, just hours before his scheduled performance. He was 58 years old and still performing at the time of his death, which was later determined to be caused by bronchial pneumonia. Musicians and fans honored him with tributes.

The Los Angeles Times noted that Teagarden was known for his innovations in trombone technique and his soulful and bluesy singing style.

Style and technique

Jack Teagarden was largely self-taught and created unusual ways to play the trombone, including special techniques and effects. He was known as an innovative jazz trombone player during the pre-bebop era. Pee Wee Russell once said Teagarden was "the best trombone player in the world."

Teagarden's trombone style did not follow traditional Dixieland methods. Instead, he used his own techniques, such as playing high notes in solos, avoiding a strict rhythm during solos, and using lip trills. Growing up in an area with a large Black population, Teagarden developed an appreciation for Black music, especially blues and gospel. He was one of the first jazz musicians to include blue notes in his playing. Musicians and critics praised Teagarden for his smooth, flowing style and his ability to blend well with other musicians during solos. In addition to playing the trombone, Teagarden was also a jazz singer.

Teagarden's trombone playing combined smooth, flowing melodies with unique use of arpeggiated, vertical lines. His improvisational style, shown in performances like his 1953 solo on "Lover," balanced technical skill with melodic flow. Critics noted his warm, vocal-like tone throughout his performances.

Legacy

Jack Teagarden performed for many different groups, including royal families in Cambodia and Thailand. Even though he faced difficulties, such as financial problems during the Great Depression, Teagarden believed that the acceptance of jazz was an important cultural achievement.

Jazz historian Gunther Schuller said Teagarden had "easy control and mastery of his instrument, a rich sound, and no desire to show off." His influence can be seen in the work of later jazz trombonists.

Trombonist Tommy Dorsey changed his style to avoid being compared to Teagarden. Glenn Miller said less about his trombone skills after working with Teagarden in Ben Pollack's band. Gunther Schuller praised Teagarden's ability to mix technical skill with deep emotion.

After Teagarden passed away, his recordings and performances continued to be remembered. The Los Angeles Times recognized his role in helping the trombone become an important part of jazz ensembles. His recordings, including those with Louis Armstrong, are considered very important to jazz history.

In 1969, Jack Teagarden was added to the DownBeat Jazz Hall of Fame. He was also inducted into the Big Band and Jazz Hall of Fame in 1985.

Discography

• 1930–34 – Chronological (Classics, 199?)
• 1934–39 – Chronological (Classics, 199?)
• 1939–40 – Chronological (Classics, 199?)
• 1940–41 – Chronological (Classics, 199?)
• 1941–43 – Chronological (Classics, 199?)
• 1944–47 – Chronological (Classics, 199?)
• 1928–43 – Father of Jazz Trombone (Avid Entertainment, 2004) (3xCD) (Eddie Condon, Bud Freeman, Jack Teagarden bands)
• 1928–40 – King of the Blues Trombone (Epic, 1963) (3xLp) (Ben Pollack, Jack Pettis, Jack Teagarden, Benny Goodman bands)
• 1929–53 – It's Time for T (Naxos, 2006)
• 1938–44 – Jack Teagarden and His Swingin' Gates (Commodore, 1944)
• 1939.06 – Birth of a Band (Giants of Jazz, 1985)
• 1939 – The Metronome All Star Bands (Camden, 1939)
• 1940 – Big Jazz (Atlantic, 1953) (Jack Teagarden Big Eight only in the 4 tracks of the first side, H.R.S. recordings)
• 1944 – The Big Band Sound of Bunny Berigan (1936) & Jack Teagarden (Folkways, 1982) (Jack Teagarden only in the last 6 tracks)
• 1944 – Big Band Jazz (Everest Archive, 1979)
• 1944.08 – Mighty Like a Rose (Koala, 1979)
• 1944.12 – Big T & the Condon Gang (Pumpkin, 1978)
• 1944.08 – Big T Plays the Blues (Ultraphonic, 1940–1944) Reissued with different titles from different labels
• 1944 – Trombone Time (Mercury, 1954) reissued as Holiday in Trombone (EmArcy, 1954) 10" Lp (Jack Teagarden only on side A, band as George Wettling's New Yorkers Keynote original recordings)
• 1944–55 – Big T's Jazz (Decca, 1956)
• 1954.11 – Jazz Great (Bethlehem, 1956)
• 1954 – Meet the New Jack Teagarden Volume I (Urania, 1954) 10" Lp
• 1954 – Jack Teagarden Plays and Sings (Urania, 1954) 10" Lp
• 1954 – Accent On Trombone (Urania, 1955) contains the previous two 10" Lps. (Reissued with different titled from different labels)
• 1954.11 – Original Dixieland (Everest Archive, 1978) originally released as Period SPL 1110 (10")
• 1956.01 – This Is Teagarden! (Capitol, 1956)
• 1956.02 – Shades of Night (Capitol, 1959)
• 1956.10 – Swing Low, Sweet Spiritual (Capitol, 1957)
• 1958.04 – Big T's Dixieland Band (Capitol, 1958)
• 1956–58 – The Complete Capitol Fifties Jack Teagarden Sessions (4xCD) (Mosaic, 1996) Reissue of the 4 previous albums plus two album under the name of Bobby Hackett with indedits
• 1959.07 – Jack Teagarden at the Roundtable (Roulette, 1959)
• 1960.01 – Jazz Maverick (Roulette, 1960)
• 1961.01 – The Dixie Sound of Jack Teagarden (Roulette, 1962)
• 1961.01 – A Portrait of Mr. T (Roulette, 1963)
• 1959–61 – The Complete Roulette Jack Teagarden Sessions (4xCD) (Mosaic, ?) Reissue of the 4 previous Roulette albums with indedits
• 1960–63 – The Swingin' Gate (Giants Of Jazz, 1981)
• Mis'ry and the Blues (Verve, 1961)
• Think Well of Me (Verve, 1962)
• Jack Te