Was jack teagarden black
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Jack Teagarden
The notes in any harmonic series are much closer together in the upper part of the series. This has a practical effect on trombone playing: in the lower register of the instrument, there are fewer notes in any given position, and often only one position in which a note can be played. In the upper register, notes in any position are closer together, and many notes can be played in more than one position.
New Orleans-style trombonists tended to play in the lower range of the instrument, where it is simply impossible to change notes as quickly as a trumpet or clarinet does; entire arms can’t move as fast as a single finger. So the traditional trombone stylists specialized in playing simpler accompaniment parts featuring cute special effects like glissandos.
Jack Teagarden apparently did not like this “tailgate” style of trombone-playing. Instead, he played higher in the instrument’s range, using mostly the first and second positions, and rarely moving beyond fourth position.
Using “alternate” positions and an embouchure that was apparently extremely flexible (m
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Jack Teagarden
American jazz trombonist and singer (1905–1964)
Musical artist
Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964)[1] was an American jazz trombonist and singer.[2] 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.[2]
Early life
Jack Teagarden was born in Vernon, Texas, United States, oldest of four siblings.[3] His first public performances were in movie theaters, where he was accompanied by his mother, who was a pianist.[4] Teagarden’s siblings also pursued professional musical careers, with Charlie playing trumpet, Norma playing piano, and Clois ("Cub") playing drums.
Jack’s early exposure to music came from his family. His father, Charles, worked in the oil fields and played cornet part-time, while 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 unit
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Jack Teagarden: Profiles in Jazz
The Double-Threat
One of the most beloved figures in jazz history, Jack Teagarden was a double-threat as a trombonist and a singer. Before he arrived in New York in 1928, most trombonists played in a guttural percussive style that had been pioneered by Kid Ory in New Orleans. The trombone, a potentially witty instrument (which was its main function in vaudeville), was mostly used to fill in ensembles, harmonizing with the lead voice (usually the trumpet or cornet) and taking short rhythmic solos.
There were two early exceptions. Miff Mole, who came to prominence with groups led by cornetist Red Nichols, took adventurous solos that featured wide interval jumps and unconventional ideas. And Jimmy Harrison, as a member of the Fletcher Henderson Orchestra, played in a legato style that hinted at Teagarden’s innovations. They were friends and probably influenced each other a bit. But otherwise, the trombone was largely a secondary instrument in jazz until Teagarden came along.
A friendly revolutionary, by the late 1920s Teagarden could play his
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