Jack Teagarden and His Swingin' Gates 1944

Trombonist-vocalist Jack Teagarden made quite a number of records during his long career as a bandleader - from 1930 until his relatively early death in 1963. Some of the best involved the Chicago school musicians with whom he was sympatico. These four  recordings, dating from 1944, are a good example.

"Jack Teagarden and His Swingin' Gates" were among the many brand names that the Commodore record company appended to the records that Teagarden and like-minded musicians recorded for the label from 1938 through the 1940s. Similar aggregations were issued under the names of Eddie Condon, Miff Mole, Bobby Hackett or just as a "Jam Session at Commodore."

Jam sessions they were, too, with a typical date involving any number of tunes associated with these neo-Dixieland outfits. This December 1944 session is an example. One classic from 1915 ("Chinatown, My Chinatown"), another favorite from 1929 (Hoagy Carmichael's "Rockin' Chair"), one blues ("Big T Blues"), and one number based on W.C. Handy ("Pitchin' a Bit Short"). The session is so relaxed that the title of the last song evidently refers to its being about a quarter-tone flat (which I've corrected).

The Commodore dates all include fine musicians. On this one, we have Max Kaminsky on trumpet, Ernie Caceres on baritone sax, Jack's sister Norma on piano, Pops Foster on bass and George Wettling on drums. Wingy Manone joins in on the "Rockin' Chair" vocals with Teagarden. (It's sort of like listening to two Louis Armstrongs.)

Max Kaminsky, Norma Teagarden, Wingy Manone

These recordings are similar in style to the Bobby Hackett Commodore records I posted here, and a similar forthcoming Hackett collection, which involves Big T on a few cuts. The sound here is very good, with presence enhanced by ambient stereo processing. 

Jeepers Creepers, It's Big T with Pops Whiteman

I've recently offered a number of Paul Whiteman records on my main blog, including the Gershwin items done for Decca records in 1938.

For those numbers, Whiteman fronted what he called his "Concert Orchestra." But the maestro also was in the studio during the same period with a band he dubbed his "Swing Wing." In total, Decca had Pops record a total of 16 titles from October 1938 to May 1939.

I believe the record on display for today's post may feature the radio band that Whiteman was leading for CBS at the time. He was the musical mainstay of the network's Chesterfield Time program throughout both years.

While I can't be sure the band personnel are consistent between radio and record studios, the soloists were entirely drawn from his radio contingent. These include the Four Modernaires vocal group, then near the beginning of their long career. The Mods would soon join Glenn Miller, where they would drop the "Four" denomination. At this time, they were a male quartet, but Paula Kelly would join them during their Miller tenure.

Prominent on both sides of the 78 is the great trombonist/singer Jack Teagarden. Big T was with Whiteman from 1933 through 1938, when he left to start his own band. "Mutiny in the Nursery" also features Joan Edwards, a stiff vocalist who had a long career on radio.

The 78 at hand presents the two main songs from the 1938 Dick Powell musical Going Places, written by Harry Warren and Johnny Mercer. In the film, the numbers are specialties for Louis Armstrong. The more famous is "Jeepers Creepers," which Armstrong sings to a horse. (Or so IMdB informs us.) The vocal and trombone soloist here is Teagarden, who would often appear with Armstrong in the years to come.

The Modernaires: from top,
Chuck Goldstein,
Ralph Brewster, Hal
Dickinson, Bill Conway

The two numbers are exceedingly well done by a talented ensemble that included trumpeter Charlie Teagarden, tenor saxist Art Drellinger, pianist Frank Signorelli, guitarist Allan Reuss, bassist Artie Shapiro and drummer George Wettling. The arranger is not named, although the charts are strongly reminiscent of the work of John Scott Trotter, who was working with Bing Crosby at the time. (Bing also was a Decca artist.) The style is somewhat similar to the Bob Crosby band's melding of swing with what has come to be known as Dixieland.

These sides show that Whiteman, whose musical approach evolved throughout the 1920s, had adapted well to the swing era - as always by employing the finest talent he could find.

A Whiteman Chesterfield band, with Jack Teagarden amidst the trombones (trust me)