Singing trombonist Jack Teagarden came up in the jazz and dance bands of his native Texas and the surrounding territories. By the end of the '20s he was making noise with the Eddie Condon mob in New York City, where the South-and-Midwesterners quickly learned that authentic, New Orleans-Chicago-styled jazz could be performed in public if you didn't need to eat more than one meal per day. The paying gigs were with society dance bands, and Teagarden made ends meet during the first half of 1930 by serving in the brass sections ...
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Singing trombonist Jack Teagarden came up in the jazz and dance bands of his native Texas and the surrounding territories. By the end of the '20s he was making noise with the Eddie Condon mob in New York City, where the South-and-Midwesterners quickly learned that authentic, New Orleans-Chicago-styled jazz could be performed in public if you didn't need to eat more than one meal per day. The paying gigs were with society dance bands, and Teagarden made ends meet during the first half of 1930 by serving in the brass sections of orchestras under the direction of Ben Selvin and Sam Lanin, as well as the toothpowder and toothpaste-affiliated Ipana Troubadours. This type of economic problem solving would lead to his being contractually tethered to the Paul Whiteman Orchestra during the years 1933-1939. In 2006, the Jazz Oracle label released a thrilling 25-track collection of recordings that document Teagarden's professional activity during the first grueling months of the Great Depression. Unlike his collaborations with Condon, these records do not necessarily spotlight Teagarden as soloist or vocalist. 1930 was a banner year in the golden age of squeaky clean crooners and pop vocalists. The music is deliciously dated and heavily arranged, with an innocent charm that is peculiarly reassuring. Vocals are perpetrated by Smith Ballew, Irving Kaufman, Paul Small, and Artie Dunn, who pipes up during ""Accordion Joe"," a novelty featuring squeezebox specialist Cornell Smelser as well as reedmen Adrian Rollini and Jimmy Dorsey, and guitarist Dick McDonough. This seems to have been Smelser's theme song, and he was lucky enough to record it twice again a couple of months later with Duke Ellington's Orchestra. Other memorable jazz players who are heard on this fascinating collection are trumpeter Charlie Spivak, clarinetist Benny Goodman, tenor saxophonist Larry Binyon (who had recorded with Fats Waller & His Buddies a few months earlier); pianists Rube Bloom and Arthur Schutt, and guitarist Carl Kress, here confined to a stately banjo. This disc, which contains several duplicate titles as vocal and instrumental takes, is a modest cousin to the first few volumes in Mosaic's massive box set, The Complete Brunswick, Parlophone & Vocalion Bunny Berigan Sessions. Teagarden's adventures as a section player are easily digestible and would go well with cheddar, chocolate, coffee, cookies, and milk. ~ arwulf arwulf, Rovi
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Add this copy of 1930 Studio Sessions to cart. $38.51, new condition, Sold by Revaluation Books rated 4.0 out of 5 stars, ships from Exeter, DEVON, UNITED KINGDOM, published 2006 by Jazz Oracle.
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