Jack Teagarden

Jack Teagarden
Teagarden c. 1944
Background information
Birth name	Weldon Leo Teagarden
Born	(1905-08-20)August 20, 1905 Vernon, Texas, U.S.
Died	January 15, 1964(1964-01-15) (aged 58) New Orleans, Louisiana
Genres	Jazz dixieland swing big band
Occupation	Musician
Instrument(s)	Trombone, vocals
Years active	1920–1964

Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) was an American jazz trombonist and singer. According to critic Scott Yanow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and "one of the best jazz singers too". Teagarden's early career was as a sideman with the likes of Paul Whiteman and lifelong friend Louis Armstrong.

Early life

Teagarden was born in Vernon, Texas, United States. His brothers Charlie and Clois "Cub" and his sister Norma also became professional musicians. His father was an amateur brass band trumpeter and started him on baritone horn; by age eight he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.

Jack’s early exposure to music came from his family, who often played together at home despite limited space. These moments of family unity, with his mother on piano and his father on cornet, fostered his deep love for music. At age eight, Jack received his first trombone as a Christmas gift, transitioning from the tenor-valve horn he had previously mastered. His ingenuity in "faking" notes beyond his reach due to his short arms was a testament to his early resourcefulness and would later define his unique trombone style.

Teagarden became the youngest member of the Paul Goetze Band at age 11, where his improvisational tendencies often surprised his instructors. Despite his natural talent, Jack faced challenges in his relationship with his father, whose struggles with the cornet contrasted with Jack’s rapid musical growth. Nevertheless, music remained a shared passion, uniting the family.

His father, Charles, worked in the oil fields and played the cornet part-time, while his mother, Helen, was a semi-professional pianist who taught all her children music. Teagarden’s siblings also pursued musical careers: Charlie became a prominent trumpeter, Norma played piano, and Clois ("Cub") played drums. Jack’s first professional performances were duets with his mother in movie houses, a formative experience that set the stage for his remarkable career.

Music career

From left: Jack Teagarden, Sandy DeSantis, Velma Middleton, Fraser MacPherson, Cozy Cole, Arvell Shaw, Earl Hines, Barney Bigard, Palomar Supper Club, Vancouver, B.C., Canada (March 17, 1951)

Jack’s professional journey began when he joined Cotton Bailey’s band, marking the first time he adopted the name "Jack" at Bailey’s suggestion. During his early career, Jack played at venues like the Horn Palace in San Antonio, where he formed a close bond with clarinetist George Hill. The duo’s sound introduced a new fluidity that resonated with 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 included several of his close collaborators.

By 1920, Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley. Kelley’s mentorship and Jack’s innovative approach to trombone playing helped establish his reputation. His unique phrasing and improvisational skills soon made him a sought-after performer, setting the stage for his future collaborations with jazz legends like Louis Armstrong. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands. By 1928 he played for the Ben Pollack band.

Teagarden’s early career included significant milestones such as joining Ben Pollack’s band in 1928, where he recorded over 300 tracks. Notably, he participated in one of the first integrated jazz recording sessions in 1929, a landmark event organized by Eddie Condon that produced the classic track "Knocking a Jug." Teagarden’s career continued to flourish with Paul Whiteman’s orchestra, although the band’s limited jazz repertoire prompted him to leave after a five-year contract. These early experiences solidified his reputation as one of the era’s leading jazz trombonists.

In the late 1920s, he recorded with such bandleaders and sidemen as Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, Eddie Condon, and Fats Waller. In 1931, Teagarden’s early orchestra recorded the tune “Chances Are” with Fats Waller playing piano and Jack singing and playing trombone. Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams' "Basin Street Blues", which in that amended form became one of the numbers that Teagarden played until the end of his days.

Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. In 1946, Teagarden joined Louis Armstrong's All Stars. Teagarden’s career exemplified an unwavering commitment to jazz, even as the genre underwent significant transformations. His vocal and trombone work became fan favorites. Critics noted his ability to inject fresh emotion and energy into classic jazz standards, ensuring his performances remained compelling even late in his career. Despite the shifts in popular music, Teagarden’s artistry continued to resonate, reaffirming his position as one of jazz’s enduring figures.

Teagarden’s tenure with Louis Armstrong’s All-Stars marked a peak in his career, showcasing his remarkable versatility as both a trombonist and vocalist. During this period, his relaxed, bluesy style complemented Armstrong’s high-energy performances, resulting in numerous memorable collaborations such as their rendition of “Rockin’ Chair.” Despite the group’s demanding touring schedule, Teagarden thrived in this environment, often described as the happiest period of his professional life. His time with the All-Stars solidified his reputation as one of jazz’s most beloved figures. In late 1951, Teagarden left to again lead his own band.

Later Life and Death

In the final years of his life, Jack Teagarden continued to tour extensively, despite struggling with declining health. He was found deceased in his hotel room in New Orleans on January 15, 1964, just hours before he was scheduled to perform. While the official cause of death was later attributed to bronchial pneumonia, the circumstances surrounding his passing left an indelible mark on the jazz community. Teagarden’s untimely death at the age of 58 brought an outpouring of tributes from musicians and fans, commemorating his immense contributions to the genre.

Jack Teagarden’s passing on January 15, 1964, was a profound loss for the jazz world. At the time of his death, Teagarden was actively touring, demonstrating his unwavering dedication to his craft despite his declining health. His sudden death in a New Orleans hotel room shocked fans and fellow musicians alike. The Los Angeles Times noted that Teagarden was widely regarded as a towering figure in jazz, celebrated for his innovations in trombone technique and his soulful, blues-inflected vocals.

Style and Technique

Teagarden's trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era – Pee Wee Russell once called him "the best trombone player in the world".

Jack Teagarden’s trombone playing was marked by a distinctive smoothness and fluidity that set him apart from other musicians of his era. Critics often praised his "bluesy" phrasing and ability to make the trombone sing in ways that emulated the human voice. His improvisational skill was unparalleled, allowing him to blend seamlessly into ensembles while maintaining a unique presence. Beyond his trombone mastery, Teagarden was celebrated as a jazz vocalist with a rich, emotive tone that added depth to his performances. His approach was deeply personal, eschewing rigid technique for a style that felt spontaneous and heartfelt.

Jack Teagarden’s trombone playing combined smooth, horizontal melodic phrasing with a distinctive use of vertical, arpeggiated lines. His improvisational style, particularly in performances like his 1953 solo on "Lover," showcased a remarkable balance between technical prowess and melodic fluidity. Teagarden’s approach often involved juxtaposing scalar runs with chromatic arpeggios, creating harmonically rich improvisations that remained firmly rooted in the song’s structure. His playing rejected the traditional slide techniques of early jazz trombonists in favor of lip flexibility and embouchure control, allowing for seamless, legato phrasing. Critics have highlighted his ability to maintain a warm, vocal-like tone throughout his performances, making even complex passages sound effortless.

Teagarden’s trombone style was defined by a relaxed, fluid, and lyrical approach, characterized by his reliance on unconventional slide positions and a highly flexible embouchure. His use of minimal slide movement allowed him to execute complex melodic phrases with a natural ease, as demonstrated in performances like "Ole Rockin' Chair" with Louis Armstrong. A mechanically inclined individual, Teagarden frequently adjusted and improved his trombone, carrying tools in his case to fine-tune his instrument before performances. His blues-based improvisation often prioritized melodic phrasing over chordal structures, creating a warm and distinctive sound that resonated deeply with audiences.

Legacy

Beyond his technical innovations, Jack Teagarden was celebrated for his global reach, performing for diverse audiences that included royal families in Cambodia and Thailand. His ability to connect with people across cultures made him a pioneer in bringing jazz to the world stage. Despite the challenges of a musician’s life, including financial struggles during the Great Depression, Jack reflected on his career with pride, viewing the acceptance of jazz as one of the greatest cultural achievements of his time.

His ability to convey emotion through his instrument and voice inspired countless musicians. Critics regarded him as one of the finest interpreters of jazz standards, with a knack for making even the simplest melodies resonate deeply with audiences. His artistry exemplified the collaborative spirit of jazz, yet his individuality always shone through.

He bridged the gap between traditional Dixieland and modern swing styles made him a pivotal figure in the evolution of jazz. Jazz historian Gunther Schuller described Teagarden as possessing “effortless sovereign technical mastery, richness of tone, and a total lack of exhibitionism,” qualities that distinguished him from his contemporaries. His influence is particularly evident in the work of later jazz trombonists, who have cited his melodic inventiveness and relaxed phrasing as major inspirations.

Even in the twilight of his career, Teagarden’s brilliance remained undiminished. As noted in The New York Times, his later performances reflected a profound mastery of his instrument and a deep understanding of jazz’s emotional core. His ability to blend technical innovation with heartfelt expression ensured his legacy as one of jazz’s true pioneers.

Teagarden’s unique contributions to jazz earned him widespread admiration from fellow musicians and critics. Trombonist Tommy Dorsey reportedly altered his own style to avoid comparisons to Teagarden’s virtuosic playing, and Glenn Miller downplayed his trombone skills after working alongside Teagarden in Ben Pollack’s band. Jazz historian Gunther Schuller praised Teagarden’s unmatched ability to combine technical brilliance with emotional depth, cementing his legacy as one of the greatest jazz musicians of all time.

Teagarden’s death highlighted the sacrifices he made for his music, including a grueling tour schedule and personal health challenges. In the years following his passing, his recordings and performances were celebrated as touchstones of jazz history, ensuring that his legacy endured. Teagarden’s influence was further solidified through retrospective evaluations of his work. The Los Angeles Times highlighted his unique ability to elevate the trombone within jazz ensembles, carving out a role for the instrument as a lead voice rather than a supporting one. His recordings, including iconic collaborations with Louis Armstrong, remain celebrated examples of jazz excellence.

Following his death in 1964, Jack Teagarden was remembered not only for his musical innovations but also for his warm personality and generosity toward fellow musicians. He was often described as a gentle, unassuming figure who prioritized his artistry over personal gain. He was celebrated in numerous tributes and retrospectives, cementing his status as a cornerstone of jazz history.

Discography

• Big Jazz with Rex Stewart (Atlantic, 1953)
• Holiday in Trombone (EmArcy, 1954)
• Jack Teagarden Plays and Sings (Urania, 1954)
• Meet the New Jack Teagarden Volume I (Urania, 1954)
• Jazz Great (Bethlehem, 1955)
• Accent On Trombone (Urania, 1955)
• Big T's Jazz (Decca, 1956)
• This Is Teagarden! (Capitol, 1956)
• Swing Low, Sweet Spiritual (Capitol, 1957)
• Jazz Ultimate with Bobby Hackett (Capitol, 1958)
• Jack Teagarden at the Roundtable (Roulette, 1959)
• Shades of Night (Capitol, 1959)
• Mis'ry and the Blues (Verve, 1961)
• Think Well of Me (Verve, 1962)
• The Dixie Sound of Jack Teagarden (Roulette, 1962)
• Jack Teagarden (Verve, 1962)
• The Blues and Dixie (Rondo-lette, 1963)
• A Portrait of Mr. T (Roulette, 1963)
• Swinging Down in Dixie (Golden Tone, 1963)
• King of the Blues Trombone (Epic, 1963)
• Big T's Dixieland Band (Capitol, 1977)
• Big T & the Condon Gang (Pumpkin, 1978)
• Original Dixieland (Everest Archive, 1978)
• Big Band Jazz (Everest Archive, 1979)
• Mighty Like a Rose (Koala, 1979)
• The Swingin' Gate (Jasmine, 1981)
• The Big Band Sound of Bunny Berigan & Jack Teagarden (Folkways, 1982)
• Tribute to Teagarden (Pausa, 1983)
• Birth of a Band (Giants of Jazz, 1985)
• 100 Years from Today (Grudge, 1990)
• The Complete Capitol Fifties Jack Teagarden Sessions (Mosaic, 1996)
• It's Time for T (Naxos, 2006)
• Father of Jazz Trombone (Avid Entertainment, 2004)

More Discography

• Ben Pollack and 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 his Orchestra (Colubia, 1929)
• Louisiana Rhythm Kings (Folkways, 1929)
• Mound City Blue Blowers (Label X, HMV, 1929)
• Charleston Chasers (Columbia, 1931)
• Eddie Lang-Joe Venuti and their all star Orchestra (Folkways, 1931)
• Jack Teagraden with orchestral accompaniment (Jolly Roger, 1933)
• Benny Goodman and his Orchestra (Columbia, 1933)
• Jack Teagarden With Orchestral Accompanent (Jolly Roger, 1934)
• Benny Goodman and his Orchestra (Columbia, 1934)
• Jack Teagarden and his Swingin’ Gates (Commodore, 1938)
• All Star Band (Camden, 1939)
• Metronome All Star Band (Harmony, 1940)
• Bud Freemand and His Famous Chicagoans (Harmony, 1940)
• Big Tea Plays the Blues (Ultraphonic, 1940-1944)
• Jack Teagraden and His Swingin’ Gates (Commodore, 1944)
• George Wettling’s New Yorkers (Mercury, 1944)
• Eddie Condon and His Orchesta (Decca, 1944)
• Louis Armstrong All Stars-Town Hall Concert (Victor, 1947)
• Eddie COndon and HIs Orchestra (Decca, 1947)
• Satchmo at Symphony Hall (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 Jazz (Decca, 1953)
• Jack Teagarden and His Orchestra (Bethlehem, 1954)
• Big T’s Jazz (Decca, 1953)
• Bobby Hackett and His Jazz Band-Coast Concert (Capitol, 1955)
• Paul Whiteman Fiftieth Anniversary (Grand Award, 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

• Red Allen, Red Allen, Kid Ory & Jack Teagarden at Newport (Verve, 1957)
• Ben Pollack, Dixieland (Savoy, 1956)

See also

• Red River Valley Museum

External links

• Jack Teagarden discography at Discogs
• Jack Teagarden at IMDb
• Jack Teagarden recordings at the Discography of American Historical Recordings.