My mother took me to see Mr. Teagarden when I was a boy about six years old, in about 1949. He, Phil Harris. and Mr. Teagarden's group played in one of the largest venues available in Phoenix, Arizona at the time--the auditorium of Phoenix Union High Schoo. It's a night I'll never forget, with Mr. Teagarden doing his music, Phil Harris singing and playing the drums, and the entire group jamming at the finale. There were probably 300 people in the auditorium.
You saw & heard a significant part of American music. I used to go to sleep listening to the broadcasts from Club Hangover in San Francisco (95 miles away). Jack Teagarden and many important Dixieland musicians played there. It was a nice way for a kid to go to sleep at night.
"Jack Teagarden died, alone, of a heart attack complicated by bronchial pneumonia in his room at the Prince Conti Hotel in the French Quarter of New Orleans on January 15, 1964. He was only 58. "I sometimes think people like Jack were just go-betweens," Bobby Hackett told a friend. "The Good Lord said, 'Now you go and show 'em what it is', and he did. I think everybody familiar with Jack Teagarden knows that he was something that happens just once. It won't happen again. Not that way..."
Al Hall Just WoW man. I've never, seen arpeggios like that and yet be completely fluid. freakishly effortless. I'll spreed that name called Jack Teagarden.
Jack had the most perfect tone on the Trombone of anyone, ever. The Greatest. And one of the saddest and most trouble people in jazz history, most of his story is one of regret and bad timing and bad luck. God rest your soul, Jack.
Frantically charging my Toyota through the cab lane at 3:30 am, not because I'm in a hurry, but because I move with a sense of urgency! God damn it. I left my heart in San Francisco. Somehow it got kicked a few blocks uphill to Northbeach. The dude with dreads gave me a new heart. This one is full of song :)
Tram Bone koda! Funny to see him playing only in positions 1-4 (out of 7), but strangely enough, that's not as much of a restriction as you might think, and it might even be a good, simplified way of learning!
This is around the time of bebop, that was a time we should have learned from all these Great musicians who didnt care if your black or white. Then the dope took hold so many of the Great musicians turned to horse or heroin, and it changed the direction of the music
i hate when people basically brag that they listen to old music just bc they are young. your age doesnt make it so you cant enjoy certain music. you arent cooler or less cool for liking a certain type of music. at most it might limit your exposure to it but judging by all the cringe comments on these types of vids nobody's having any problems finding it.
No lo puedo creer; el era un musico de gran talento; su voz era perfecta para la musica de jazz! Pero como dice el refran:"Sobre gustos no hay nada escrito".
@@dangit.isaac57 That may be more true of the people who ran the recording studios than of the band members (If you haven't seen the film "Ma Rainey's Black Bottom" you might find it very interesting). I read some time ago that growing up in Texas, Teagarden fell in love with jazz and actually sat in with Black musicians despite the prejudices of the period (It took many years before Teddy Wilson and Lionel Hampton were allowed to perform with Benny Goodman and for Charlie Shavers to play with Tommy Dorsey because many venues would not allow integrated bands to play). He certainly did not learn to play jazz like that from white bands at the time (1920's), and he was the first white musician to garner respect and admiration from black musicians. His friendship with Louis Armstrong was legendary. The first time they played together they cemented a friendship that lasted until Jack's death because they said to each other, "...Let's make music together!" As an aside I never knew my father to be much of a jazz aficionado but one time when I was in my teens, I was watching a movie featuring both of them when my father walked in the door after work. As soon as he entered, without even seeing the screen, hearing the trombone he asked, "Is that Jack Teagarden? He's my favorite trombone player!" That night Big Train became mine, too.
@@josephavella6251 You may have not meant it definitively, but Teagarden was certainly not the first white musician to “garner respect and admiration from black musicians.” For example, Lester Young famously carried around a Trumbauer recording (Singing the Blues so the story goes) and talked about Trumbauer’s influence on him. Young also admired Bud Freeman, who already had his unique style, sound by the mid-20s. There are other examples, though maybe not scores of them. the best musicians in the genre mutually respected one another, borrowed from one another. I don’t mean to discount or minimize the racism, exploitation, borrowing or outright stealing, commercialization that worked against black musicians, but the story is a little more complex, and heartening. Big T, was great, but so many others, just among trombone players. I don’t think George Brunies gets his due. Miff Mole was not a blues player, but he certainly influenced trombone players, and to my ear, reed players as well. So many many wonderful trombone players from the era, black and white. JC Higginbotham was a force of nature. Could follow Armstrong, I keep hearing ones new to me - whoever it was with McKinney’s Cottonpickers . I could go on, but it’s more fun exploring these things ourselves. RU-vid is great for this. So good to see this example posted (though I wish Charlie Teagarden would have played fewer notes, borrow a bit more bluesiness from is brother).
