Editing Jack Teagarden (section)

== Style and technique ==
Largely self-taught,<ref>{{Cite web |title=Jack Teagarden {{!}} Learn the Legends: Musical Performers of the Early 20th Century |url=https://courses.dcs.wisc.edu/wp/musicalperformers/2017/09/29/jack-teagarden/ |access-date=2025-05-08 |language=en-US}}</ref> Teagarden developed unusual alternative positions and special effects on the trombone. He is considered an innovative jazz trombone stylist of the pre-[[bebop]] era.{{Citation needed|date=December 2016}} [[Pee Wee Russell]] called him "the best trombone player in the world".<ref name="Giddins">"The Best Trombone Player in the World", by [[Gary Giddins]], originally published in ''[[The Village Voice]]'', March 1977; reprinted in ''Riding on a Blue Note: Jazz & American Pop'', [[Oxford University Press]], 1981.</ref>

Jack Teagarden's trombone playing did not follow traditional Dixieland style. Instead, he adopted characteristics of his own, including upper register solos, not using a strict solo beat, and lip trills.<ref name=":2" /> Growing up in an area with a large Black population, Teagarden developed an appreciation for Black music, especially blues and gospel, and was one of the first jazz musicians to incorporate [[blue note]]s into his playing.<ref name=":2" /> Critics praised Teagarden for his blues-like smoothness and fluidity,{{Citation needed|date=December 2016}} as well as his ability to seamlessly integrate into ensembles when soloing. In addition to playing trombone, Teagarden was also a jazz vocalist.<ref name=":6">{{Cite news |last=Smith |first=Jack |date=Jan 17, 1964 |title=Jack Teagarden's Style Strictly All His Own: Death Silences Genius Who Would Pick Up His Trombone and Play What He Felt Jack Teagarden|url=https://www.ezproxy.library.unlv.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fhistorical-newspapers%2Fjack-teagardens-style-strictly-all-his-own%2Fdocview%2F168491421%2Fse-2%3Faccountid%3D3611 |access-date=December 13, 2024 |work=Los Angeles Times |pages=A1}}</ref>

Jack Teagarden's trombone playing combined smooth, horizontal melodic phrasing with a distinctive use of vertical, arpeggiated lines.{{Citation needed|date=December 2016}} His improvisational style, showcased in performances like his 1953 solo on "Lover," was characterized by a balance of technical skill and melodic fluidity. Teagarden's approach often involved juxtaposing scalar runs with chromatic arpeggios, creating improvisations that remained rooted in the song's structure. Eschewing traditional slide techniques, he favored lip flexibility and embouchure control, allowing for legato phrasing.{{Citation needed|date=December 2016}} Critics have highlighted his warm, vocal-like tone throughout his performances.<ref name=":7">{{Cite journal |last=Lambert |first=David Duane |date=2005 |title=A Comparison of three divergent jazz trombone styles from 1953: Jack Teagarden, J. J. Johnson, and Frank Rosolino |url=https://www.ezproxy.library.unlv.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fdissertations-theses%2Fcomparison-three-divergent-jazz-trombone-styles%2Fdocview%2F305418077%2Fse-2%3Faccountid%3D3611 |journal=University of Miami Dissertations & Theses |pages=49–53 |id={{ProQuest| }}}}</ref>