15. 1940 Chicago. January IS. 1940 DOWN BEAT

There are many remarkable situations t» be found in this personnel, should anyone My! Wasn't it a Wild Night? care to figure them out some rainy Bunday The Alligator's Hole afternoon. When Jack left Whiteman In Deosanber, 1938, he wasted no time organising bls own band. The new Teagarden crew 1» recent weeks had been shifted about con­ siderably, but on almost all of the band's Discography records for Brunswick and the new rod Columbia label. Charlie Spivak, trumpet; Allan Reuss, guitar; Johnny Van Epps BY WARREN W. SCHOLL and Hub Lytle, tenors; Ernie Caceres, clar­ inet, Lee Costaldo, trumpet, and of course Jackson’s trombone are all featured prom­ Goodman-Columbia series did Tea turn out inently. When Benny Goodman formed performances of the caliber heard on the These Teagarden band dises are on the Commodore sides. These are must item in black and silver Brunswick label, recently his first permanent “swing band” any collection of Teagardenia: in 1934 he had hoped to eventually Personnel: Jackson T., , add Jack Teagarden to his band, Pee-Wee Russell, , Jess Stacy, but Jack's contractual »bligations Art Shapiro, Eddie Condon, Geo. Wettling. Three of the four titles were released under to made the move the name of “Eddie Condon and his Windy impos-ible. The nearest Jack ever City Seven.’’ Com. 1501 — “Embraceable “Th«»*» Might, l*m Wro«g.“ got to playing with Benny’s new You” and “Serenade to a Shylock,’’ 12 197 “I Gott« Right to Slag the Biao«' inches, vocal by Jack on latter, and Com. (theme »oag of head) A “Yanko« band was at a record date that took 506 “Diane" under Jack’s name, paired Slate at Victor’s New York «tudio with “Meet Me Tonight in Dreamland.” larch, 1935. Incidentally, Jack ua«. Getting right back into the habit of furnishing interesting accompaniments to slated to sing the vocal on one num­ vocalists, Jack made a single appearance ber but when he arrived he was (fall ’38) In a group accompanying blues suffering more or less of a hang­ singer Teddy Grace on- four Decca tunes. The band now la on the 50-cent Columbia Personnel: Jackson, Billy Kyle, Delmar: label. All of these latter sides are available over and Helen Ward sang instead. today at any dealer’s. His short aolo on Heave nip Thing (rhythm) Which just about concludes the list of had New Year’« eve, the} started digging into a turkey dinner «pread is anything but inspired, but the KNOWN records featuring Tea. Il Is quite Goodman »x oeetion made history with Its possible that Jack has appeared on record­ Mt for them by the Hotel Penn-« 1« «ma. Thia appear* a« a ronvrntional performance of these tunes, so I'd advise ings other than those mentioned in the Weitling add this their libraries: foregoing article, but lacking further evi- fathering of good fellow», »lupping their «oup in all propriety, although collectors to to far the most exciting Jack played in Personnel: Ruulman, Toota Mondello, Art (Modulate to Page 20) n of the there doe* aeem to be a mad gleam in the eye of that rhappie in front Rolll-n Hymle Shertwi and Dick Clark, was the Metronome-Victor All-Star saxes; Irwin, Neary and Kaxebier, trum­ session that took place In January, rrlr»««. mJ center. Neverthelem thr acene ia one of detorum and reserve, the pet- Laeer a Ballard, trombones. Krui«, Group comprised, for the most part. 5 in the ------musicians who received first rating nader must admit. However. . . . H «Kxvdmnr Froeba * Rei is, rhythm. Vic­ on their respective instruments in the an- tor 25021—“RevtleM" * "You re a Hear- nual Met poll. Decca Profits Bit enly Thing.” The distinguished gathering comprised Concluding the list of miscellaneous ses­ Jackson _and Tommy Dorsey (tromb) : sions in which Jaek participated in 1985 $373,992 in’39 n public are these with Bunny Berigan and Wingy f wacky Manone: Personnel: Berigan. Tea. Art Bunny Berigan, Sonny Dunham A Chas. Tight." Shaw, Forrest Crawford. Joe Bushkin. Spivak (trumpets) ; Harry James (sub­ New York—Proof that 1939 was le Little Marty Stuhlmaker and Dave Tough. Voca- stituting for Spivak on the “Blues” num­ the biggeat year in a decade for Rif fin” A ber) ; Bobby Zurke, Ray Bauduc, Bob phono record- was given last week .nd "Vol “Melody from the Sky” and Voc. 8226— Haggart and Carmen Mastren (rhythm). “I Can’t Get Started** A “Rhythm Saved the Victor 26144 “The Blues’* A “Blue Lou.’’ when Jack Kapp, prexy of Decca, World.’’ With Manone. personnel: Matty In the opening chorus of ^Blues’’ Tommy announced Decca’s 1939 profits Matlock. Miller. Tea. Lamare, H. Goodman. Dorsey plays straight background to Jack’s from discs to be $373,992. That Bauduc and Gil Bowers: Vocation 3070— exciting improvisations around the tradi­ he she “You Are My Lucky Star** A “I’ve Got a tional 12-bar blues form. Again in the figure is for the fiscal year ending ilder < Feeling You’re Fooling’’ and Voc. 8071— closing chorus Jackson returns with more Aug. 31. “I’ve Got a Note” A “Every Now and spirited solos, marred only by one of those tM pOW< silly cadenzas that I spoke about before. On “Sales are now running 50 per For several weeks in the fall of 1986 “Blue Lou” Jackson U featured for a half cent ahead of those of a year ago," Jack and Charlie T., with Frank Trum­ chorus, along with Eddie Miller, Goodman declared Kapp. He also reported bauer, played at the Hickory House—the and Zurke. that payment of musicians and the foi nucleus of a Whiteman unit called the This record ia a landmark in the history “Three T’s.” The date was short lived, in of recorded hot jazz. Goodman and Tommy artists, plus cost of recording fact it was a dismal flop, and Jack and Dorsey hadn’t appeared together on the masters, studio rentals nnd other Charlie lost no time returning to PW. same record for eight years—Jaek and expenses, amounted to $103,931 for Tram stayed at the Hickory House with a Benny hadn’t recorded in the same outfit revamped band and hasn't been with for four years—James and Berigan had the year. Much of that money went reryl never worked together before—and so on. to musicians. There exists exactly one record by which we can recall what the “Three T’s” ear. Tl sounded like. And it's none too flattering. at ion « Personnel was Jack and Charlie T., Tram, «e On" Bud Freeman, Carl Kress, Roy Bargy, Bob White and Art Miller. Victor 25273—‘Tse binati« a Muggin' ** parts 1 A 2. this inanity is a horrible thing to judge any band by, but the boys rescued themselves somewhat by providing a aeries of hot choruses on part c I'zedl 1. Note the cacophonic effect at the end set th« of the second side where everybody plays iwmging' for himself with amusing results. Jack’s longest period of inactivity took place be­ ably tm tween the demise of the “Three T’s” and After thr sprite ul the night hod taken it« toll, thi- mad jumble October. when Whiteman signed a hit vint- new contract to record for Decca The few peeled the len* of the innorent camera. Bedlam reigned, (or had been appearances Jack made on Decca have al­ ready been noted in the complete list of nigning). Bacchun had done plenty with hie will, and thi* orgy wa» the Whiteman-Teagarden discs. mult But don't be horror-stricken, dear reader, at the eight of the gent Thanks to the enterprising Milton Gab* 0*«wlr«l as if cool in thr lower right hand comer. He's nol that at all, ler. Jackson was featured on a special to hold Commodore Music Shop date back in April lew sen- ter is that a splotch of bloml beside his head It’s orangeade, and the let the to studio jamming groups. Not since his ticating. the rec- Wh, MESS AROUND? You don t like raspy, noisy, scratchy, rotten music so why ask your customers to like it? Why try to get away with a bum P.A. system which makes your music sound like back-fence cats? eres something NEW-DIFFERENT-SENSATIONAL

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