Johnson is unquestionably the “Father of the Modern Trombone,” Jack Teagarden was the first to make the trombone a viable jazz instrument. Let’s take a look at this physically demanding instrument and learn about some of its earliest jazz champions, including a few who have ties to our own CJO! Jack Teagarden (1905 – 1964) This week, we’re diving into brass and highlighting the trombone, an instrument that really started to take a more prominent place in music at the start of the 20th century, with its expanding role in Dixie, jazz and swing. Retrieved 18 December 2020.The jazz trombone is a magical experience, particularly to hear and listen to.
^ "Billie Holiday Songs - 1933 sessions".Essential Jazz Records: Volume 1: Ragtime to Swing. ^ "Billie Holiday Songs – Your Mother's Son-In-Law".Billie Holiday: The Last Interview: and Other Conversations. Billie Holiday: The Musician and the Myth. The lyrics of the song reference the opera singer Jules Bledsoe and the actor and singer George Jessel, popular musical artists at the time of the recording. In a 1956 interview with Willis Conover for Voice of America's Jazz Hour, Holiday claimed that she was 14 years old at the time of the recording (she was actually eighteen) and that the song "sounds like I was doing comedy" as "my voice sounds so funny and high". The song later appeared in Lew Leslie's revue Blackbirds of 1934. Oliphant praises Benny Goodman's clarinet solo as that of a "consummate swing artist". Oliphant highlights Jack Teagarden's trombone solo on the song, noting that it shares with Holiday's vocal "some of the same exuberance in the face of the wistful and (even inappropriate lyrics)". In his book Texan Jazz, Dave Oliphant noted that on the song Holiday was already utilising her noted "quavering drop" at the end of words which was possibly adapted from the trumpet stylings of Louis Armstrong and began words with a "gruffness" to lend her vocal lines forcefulness and personality. Szwed wrote that the arrangement "pitched her voice so high that it forced her to virtually shout over the band". Holiday's biographer John Szwed describes the arrangement as "busy" and "too fast". The song was recorded in a key that Holiday was uncomfortable with and at a faster pace than she wanted at Goodman's behest. Buck encouraged her to sing, telling her that she wouldn't want "all these people" to think that she was a ' square'. Holiday was also intimidated by the presence of the famous vaudevillian Buck Washington who played the piano on the recording. Waters had recorded in the same studio earlier in the day with the same band. The singer Ethel Waters was present in the studio, which further increased her anxiousness. Holiday was initially nervous as she prepared to make her first recording.
The song was recorded in three takes, and Holiday was paid $35 (equivalent to $700 in 2020) for her performance. " Your Mother's Son-In-Law" is a song written by Alberta Nichols and Mann Holiner that was recorded by Billie Holiday with a band led by Benny Goodman on 27 November 1933. Single by Billie Holiday with the Benny Goodman Orchestraīillie Holiday with the Benny Goodman Orchestra singles chronology 1933 single by Billie Holiday with the Benny Goodman Orchestra "Your Mother's Son-In-Law"
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