# Jack Teagarden

Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) was an American jazz trombonist and singer. Initially, he was a sideman for Paul Whiteman's orchestra, and later for his lifelong friend Louis Armstrong playing in Louis Armstrong's All-Stars from 1946 to 1951.

## Early life

Jack Teagarden was born in Vernon, Texas, United States. He was the oldest of four siblings. His first public performances were in movie theaters, where he was accompanied by his mother, who was a pianist. Teagarden's siblings also pursued professional musical careers, with Charlie playing trumpet, Norma playing piano, and Clois ("Cub") playing drums.
Jack Teagarden's early exposure to music came from his family. His father, Charles, worked in the oil fields and played cornet part-time. His mother, Helen, was a semi-professional pianist. His family played music together, with his mother teaching all of her children music. These moments of family unity fostered his deep love for music. His father, an amateur brass band musician, made him start with a baritone horn. At age eight, Jack received his first trombone as a Christmas gift, which made him transition from the tenor-valve horn he had previously mastered. He would "fake" notes beyond his reach due to his short arms, which 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. 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 and helped to unite the family.

## Music career

During his early career, Jack Teagarden played at venues such as the Horn Palace in San Antonio, where he formed a close bond with clarinetist George Hill. The duo earned 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 Teagarden'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 players like Louis Armstrong. In the mid-1920s, he traveled widely around the United States in a quick succession of different bands. In 1927, he came to New York City to work with several other bands. By 1928 he was playing with the Ben Pollack band.
Teagarden's early career included significant milestones such as joining Pollack's band, 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 track "Knocking a Jug". Teagarden's career continued with Paul Whiteman's orchestra, though 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 became one of the numbers that Teagarden played most frequently.
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 remained committed to jazz even as the genre underwent significant transformations. Critics noted his ability to inject fresh emotion and energy into classic jazz standards.
Teagarden's tenure with Louis Armstrong's All-Stars was a significant moment in his career, showcasing his versatility as both a trombonist and vocalist. During this period, his relaxed, bluesy style complemented Armstrong's high-energy performances, resulting in numerous 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. In late 1951, Teagarden left to again lead his own band.

## Later life and death

Teagarden was found dead in his hotel room in New Orleans on January 15, 1964, just hours before he was scheduled to perform. His death was later attributed to bronchial pneumonia. Teagarden's death at the age of 58 brought an outpouring of tributes from musicians and fans, commemorating his contributions to the genre.
At the time of his death, Teagarden was actively touring around the country. 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 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 great, 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.
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 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.

## Legacy

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 vital in bringing jazz to the world stage. Despite the challenges of a musician's life, including financial struggles during the Great Depression, Teagarden reflected on his career with pride, viewing the acceptance of jazz as one of the greatest cultural achievements of his time.
He bridged the gap between traditional Dixieland and modern swing styles. 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.
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 playing, and Glenn Miller downplayed his trombone skills after working alongside Teagarden in Ben Pollack's band. 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.
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

Source:
* 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 Teagarden with orchestral accompaniment (Jolly Roger, 1933)
* Benny Goodman and his Orchestra (Columbia, 1933)
* Jack Teagarden With Orchestral accompaniment (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 Teagarden and His Swingin’ Gates (Commodore, 1944)
* George Wettling’s New Yorkers (Mercury, 1944)
* Eddie Condon and His Orchestra (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)