Sunday, June 8, 2014

Brigitte Mitchell - Don't Explain

Size: 132,3 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. God Bless The Child (5:53)
02. My Favourite Things (4:13)
03. Don't Explain (With Jazz Quintet) (5:38)
04. Doodlin' (3:56)
05. Another Star (5:02)
06. Midnight At The Oasis (4:41)
07. That Ole Devil (3:50)
08. Nica's Dream (4:16)
09. Cry Me A River (5:27)
10. Moonlight In Vermont (4:14)
11. Georgy Porgy (4:08)
12. Don't Explain (Voice And Piano) (5:32)

Silva Records proudly presents one of Hong Kong’s most celebrated Jazz vocalists, Brigitte Mitchell, whom offers an array of delightful and sensual standards, exhibiting her versatility with a daring grace. Hits on this release include timeless Billie Holiday classics, God Bless The Child and the title track Don’t Explain, plus a toe-tapping, swing interpretation of Stevie Wonder’s Another Star. OTher tracks include re-imagined Jazz standards such as Horace Silver’s Doodlin’ and Nica’s Dream, as well as a haunting rendition of evergreen My Favourite Things.

Originally from the scenic shores of Cape Town, Mitchell has been living in Hong Kong for the past 10 years. She had an undeniable urge to explore an artistic path of unknown proportions, sparking this migration from South Africa to Asia. The move has offered a sense of creative liberation. “Taking that step to leave my comfort zone was one of the best decisions I’ve made,” she recounts fondly.

Growing up a witness to the diverse conditions in South Africa, she came to Asia aspiring to personify the change her father wanted to see for the people of Cape Town. By making a name for herself on new ground, she cultivated her father’s vision and she confidently asserts the importance of his advice, “He really insisted on this, try and reach your highest potential and become the best version of yourself.” And her record is certainly indicative of this mind set.

Mitchell has established herself as a headliner Jazz singer, known for her spontaneous and captivating live performances. Don’t Explain is made up of selections from her live show repertoire. “This is how I wanted to feel and sound. Ultimately, I grew into Jazz because I let it take hold of me.” The record is a time capsule that represents not only the magic of a live performance, but also the culmination of Mitchell’s decade-long experimentation and love affair with Jazz.

Don’t Explain showcases Mitchell’s multidimensional vocals in a variety of musical settings. She is backed by a core rhythmic section that she has worked with over the years made up of New York Jazz pianist Bob Mocarsky, Hong Kong veteran Rudy Balbuena on upright bass, and drummer Gary Da Silva, who is also Mitchell’s husband and the record’s Executive Producer. The album also features a number of guest artists, including Australian sax star Blaine Whittaker, Los Angeles pianist Bobby West (Ray Charles, Marvin Gaye), Australian trumpeter Toby Mak, Hong Kong producer and guitarist Tommy Ho, LA tenor saxophonist Albert Wing and Brazilian saxophonist Paulo Levi. Mitchell sweetly praises her colleagues, “Each musician has given a piece of themselves.”

Don’t Explain is just the beginning of Mitchell’s recording career. She says, “I come from such a wide range of musical interests. I hope to explore and continue to grow in new directions.”

Don't Explain

Brother Jack McDuff - Anthology

Size: 172,9 MB
Time: 74:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Funk/Soul
Art: Front

01. Butter (For Yo' Popcorn) ( 4:04)
02. Down Home Style ( 5:02)
03. Flat Backin' (10:19)
04. Oblighetto ( 6:32)
05. The Vibrator ( 4:45)
06. Memphis In June ( 4:13)
07. Moon Rappin' ( 6:18)
08. Theme From Electric Surfboard ( 3:30)
09. It's All A Joke ( 3:49)
10. Groovin' (On A Sunday Afternoon) ( 5:14)
11. Made In Sweden ( 7:33)
12. As She Walked Away ( 7:59)
13. Loose Foot ( 5:02)

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~Biography by Bob Porter

Anthology

Spencer Day - Daybreak

Size: 76,4 MB
Time: 32:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Rock/Pop Vocals
Art: Front

01. Missing Tonight (3:30)
02. Naturally (2:37)
03. These Boots Are Made For Walkin' (2:57)
04. Don't Let Me In (3:53)
05. Never My Love (2:57)
06. Wait Till I Get You Alone (3:26)
07. Groovin' (3:29)
08. Bad Moon Rising (3:27)
09. World Without Love (3:27)
10. You Don't Know You're Lonely (3:02)

Far more than a crooner, vocal artist Spencer Day is cutting a unique path as one of the top vocal artists in the country! ~Brent Black / criticaljazz.com

Spencer Day does an new school riff on classic music from the 60's with the release of Daybreak. A sweeping generalization would be Day fits in with Harry Connick, Michael Buble, Michael Feinstein bunch. Nice...yet artistic comparisons in this case are grossly unfair as Day is charting his own unique course down the harmonic road less traveled.

Daybreak is a well conceived and magnificently executed gem divided into two equal parts. Five somewhat eclectic covers from the 60's and five solid originals that match up to the vibe perfectly. A couple of thoughts on why Daybreak works so well would start with the arrangements. When considering the work of song stylist Spencer Day, a respectable cover of "These Boots Are Made For Walking" would seem to be the equivalent of pulling a lyrical rabbit out of the hat. The arrangements make the Nancy Sinatra hit work along with other favorites such as "Bad Moon Rising" and "World Without Love" from Lennon and McCartney. The first single would be the original "Missing Tonight" which has the deceptively subtle feel of a song destined for the Great American Songbook.

Spencer Day has a voice that is clean, neat and with a slight smoky finish. The horns add a pop of color and texture. While still early in what is destined to be a stellar career, Day has managed to find the ability to crawl inside a lyric and make it his own. Spencer Day does not sing the words, he makes the music. ~by Brent Black

Personnel: Spencer Day: Keyboards & Vocals; Erik Kertes: Bass, Multi Instrumentalist; Matt Mayhall: Drums, Tympani, Percussion; Brett Farkas: Electric and Acoustic Guitar; John Storie: Electric and Acoustic Guitar; Jeremy Levy: Trombone; Alex Budman: Saxophone; Alan Chang: Piano and Organ; Jamie Hovorka: Trumpet; Paul Cartwright: Violin; Cliff Goldmacher: Uulele: Rayna Dae: Vocals; Kathleen Grace: Vocals.

Daybreak

Bennett B - Groove Time

Size: 87,7 MB
Time: 37:32
File: MP3 @ 320K/s
Released: 2014
Styles: Smooth Jazz
Art: Front

01. Tell Me About It (4:03)
02. Slipstream (3:53)
03. Show Your Love (3:57)
04. Get On Up! (3:27)
05. When I Look In Your Eyes (3:26)
06. Now And Again (4:43)
07. Between Rivers (3:18)
08. Above The Clouds (3:25)
09. Groove Time (3:29)
10. In My Mind (3:46)

For those who may not know, Bennett B (aka Bennett Brandeis) is a four-time recipient of ASCAP’s Popular Music Award and is listed in the Who’s Who World of Jazz. Now, with that brief Bennett B CDintro, allow me to delve into the artist’s latest activity – a cool and often funky offering featuring some of today’s best known artists in accompaniment.

The album is called Groove Time and features the renowned guitarist Paul Brown (who also produced and mixed this effort), saxman Elan Trotman, trumpeter Greg Adams, and the late great drummer Ricky Lawson.

The album has that cool, confident Paul Brown production feel to it while Brandeis exhibits his own storytelling style on guitar.

Several tunes warrant you paying close attention to this one. From the funky mid-tempo tunes like the lead track “Tell Me About It,” “Get On Up,” the up-tempo title track, and the light-funky “Above the Clouds” to the smooth and steady hook-rich “Show Your Love” to the more laid-back tracks like “When I Look in Your Eyes,” “Now and Again,” and “In My Mind,” you get your ear’s worth on this one.

Listening to Brandeis’ style almost conjures up a cross between Paul Brown on the electric guitar pieces and Ken Navarro and Jim Adkins on the acoustic tracks. His tunes are both colorful and modest, flaunting confidence yet subtleness, all at the same time. A treat for those who like their jazz somewhat unassuming but very present. Give this one a listen. Something is bound to be here for you. – Ronald Jackson

Groove Time

Bob Barnard & Ralph Sutton - The Joint Is Jumpin': The Music Of Fats Waller

Bitrate: 320K/s
Time: 56:43
Size: 129.9 MB
Styles: Cornet & piano jazz
Year: 2003
Art: Front

[3:18] 1. The Joint Is Jumpin'
[3:54] 2. I've Got A Feeling I'm Falling
[3:36] 3. Black And Blue
[3:46] 4. I'm Crazy 'bout My Baby
[3:50] 5. Blue Turning Grey Over You
[4:45] 6. Up Jumped You With Love
[4:44] 7. Keeping Out Of Mischief Now
[4:28] 8. Dream Man
[4:52] 9. Squeeze Me
[4:05] 10. You Meet The Nicest People In Your Dreams
[2:31] 11. Sweet And Slow
[3:47] 12. It's A Sin To Tell A Lie
[5:06] 13. I'm Always In The Mood For You
[3:53] 14. I Used To Love You

The music of Fats Waller never sounds old and dated, especially when in the hands of the two masters who share top billing on this album. Australian cornetist Bob Barnard, who made his first solo album in 1952, and American Ralph Sutton, one of the last geniuses of the stride piano, renew their acquaintance with this release. The term "music" is used broadly to mean not only pieces written by Waller but also others' compositions that Waller had in his vast repertoire, some of which were virtually Waller's personal property, such as "You Meet the Nicest People in Your Dreams." Included is "It's a Sin to Tell a Lie," which Waller did with a tongue-in-cheek, don't-you-really-believe-it demeanor. The double-entendre "Sweet and Slow" was a Waller favorite, and one that Sutton has recorded elsewhere. In addition to the house rhythm section of Ed Gaston on bass and Len Barnard on drums, guests arrive on some tracks to help move things along. Don Burrows, with many albums of his own under his belt, does his clarinet thing on such cuts as "Up Jumped You With Love" and "I'm Crazy About My Baby." On the former, he ad libs over Barnard's enunciation of the melody line before taking a chorus of his own. Another Australian clarinet player of note, John McCarthy joins in on a slow drag version of "Squeeze Me." An album highlight is "Blue Turning Grey Over You," the only track where it's just Sutton and Barnard. About 100 years of jazz performing experience are on exhibit here, and you hear every year in every note. Highly recommended for Waller fans in particular and lovers of any jazz style played by consummate artists. ~Dave Nathan

James Clay - Tenorman: The Kid From Dallas

Bitrate: 320K/s
Time: 66:35
Size: 152.5 MB
Styles: Hard bop
Year: 1956/2011
Art: Front

[3:28] 1. In A Sentimental Mood
[4:36] 2. The Devil And The Deep Blue Sea
[4:30] 3. Easy Living
[4:31] 4. Minor Meeting
[3:40] 5. Airtight
[4:46] 6. Willow Weep From Me
[4:27] 7. Three Fingers North
[4:12] 8. Lover Man
[4:16] 9. Marbles
[2:41] 10. It's Alright With Me
[5:29] 11. Scrapple From The Apple
[6:15] 12. Out Of The Blue
[5:31] 13. Sandu
[8:07] 14. Cheek To Cheek

In the summer of 1956 James Clay was a 20-year-old tenor saxophonist from Dallas, who had been living and playing in Los Angeles since mid-1955. At that time his colleagues were all young and independent experimentalists, completely outside of the flourishing West Coast jazz movement – players like trumpeter Don Cherry, bassist Billy Higgins, and altoist Ornette Coleman – and though he said he was not an outside player, he worked easily within the unconventional settings of Coleman’s compositions.

Paradoxically, however, his only recordings were straight ahead, not at all in line with Ornette’s controversial music. On them his ideas flow melodically, especially in ballads and mid-tempos. On faster tunes, his blowing statements come from the strong swinging style and hot tone that characterized other Texas tenors such as Illinois Jacquet and Arnett Cobb, with a hard-bop approach clearly influenced by his idol Sonny Rollins. This CD contains all James Clay studio performances on tenor sax while the young kid from Dallas was living in Los Angeles in the mid Fifties.

Track #1: James Clay (ts), Bobby Timmons (p), Jimmy Bond (b) and Peter Littman. Recorded at Forum Theatre, Los Angeles, on July 25, 1956.
Tracks #2-9: James Clay (ts & fl), Sonny Clark (p), Jimmy Bond (b) and Lawrence Marable (d). Recorded at Capitol Recording Studios, Hollywood, on August 4, 1956.

Tenorman: The Kid From Dallas

Monica Worth - Never Let Me Go

Bitrate: 320K/s
Time: 53:58
Size: 123.5 MB
Styles: Vocal
Year: 2010
Art: Front

[3:26] 1. Shall We Dance
[6:13] 2. Lazy Afternoon
[6:14] 3. You Must Believe In Spring
[5:45] 4. I'm Going Out Of My Head For You
[4:30] 5. Hello Young Lovers
[5:09] 6. Never Let Me Go
[3:00] 7. I'll Be Seeing You
[4:55] 8. I'm Old Fashioned
[5:23] 9. Overjoyed
[3:51] 10. I'm In The Mood For Love
[5:25] 11. It Never Entered My Mind

The CD package describes Monica Worth as “a rich, throaty alto with echoes of Rosemary Clooney and Morganna [sic] King.” It is a claim that raises an interesting question. Can a singer simultaneously evoke both Ms. Clooney’s earthy directness and Ms. King’s highly stylized abstractions? The answer, of course, is no. While the influence of Ms. King’s esoteric approach to jazz singing is evident, the use of Ms. Clooney’s name appears to be a marketing ploy.

Ms. Worth’s singing sounds like the product of both too much and too little voice training. She projects her vocal tone with a good deal of the formality of a classical singer but without any of a classical singer’s discipline. Ms. Worth’s intonation and time feel are more than occasionally problematic. She also appears to have difficulty moving between her head and chest voices. Ms. Worth tries to sing too many of these ballads in her upper register where her control over pitch and dynamics is less secure. Only on “Never Let Me Go” and a nicely done “Overjoyed,” both sung in her comfortable middle register, does Ms. Worth manage to communicate actual emotion. Special mention should also be made of the voice & bass passages of an otherwise overdone “I’m Going Out of My Head Over You.”

The rhythm section is outstanding as are the beautiful and subtle string arrangements by Larry Willis. Mapleshade has also once again done a masterful job with their live-to-two-track analog recording process. ~Mathew Bahl

Monica Worth: vocals; Larry Willis: piano; Keter Betts: bass; Jimmy Cobb: drums; Janice Martin: violin; Rick Schmidt: violin; George Olson: viola; Bruno Nasta: viola; Nat Chaitlein: cello; Steve Novosel: bass.

Never Let Me Go

Jay McShann - If You Need Me

Bitrate: 320K/s
Time: 77:19
Size: 177.0 MB
Styles: Piano jazz
Year: 2013
Art: Front

[3:53] 1. Lady Be Good
[6:24] 2. Blue And Sentimental
[4:11] 3. Jay's Boogie Woogie
[5:19] 4. Memories Of You
[6:24] 5. Moten Swing
[2:48] 6. Duke And The Brute
[4:26] 7. Hootie's Ignorant Oil
[4:25] 8. Tenderly
[4:40] 9. Say Forward, I'll March
[2:51] 10. Nasty Attitude
[6:06] 11. Hootie's In Hutchinson
[2:43] 12. Reach
[5:50] 13. Slow Drag Blues
[3:59] 14. Four Day Rider
[4:16] 15. You Can Depend On Me
[6:08] 16. Doggin' Around
[2:50] 17. Confessin' The Blues

The great veteran pianist Jay McShann (also known as Hootie) enjoyed a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. He was mostly self-taught as a pianist, worked with Don Byas as early as 1931 and played throughout the Midwest before settling in Kansas City in 1936. McShann formed his own sextet the following year and by 1939 had his own big band. In 1940 at a radio station in Wichita, KS, McShann and an octet out of his orchestra recorded eight songs that were not released commercially until the 1970s; those rank among the earliest of all Charlie Parker records (he is brilliant on "Honeysuckle Rose" and "Lady Be Good") and also feature the strong rhythm section team McShann had with bassist Gene Ramey and drummer Gus Johnson. The full orchestra recorded for Decca on two occasions during 1941-1942 but they were typecast as a blues band and did not get to record many of their more challenging charts (although very rare broadcasts have since surfaced and been released on CD by Vintage Jazz Classics). In addition to Bird (who had a few short solos), the main stars were trumpeter Bernard Anderson, the rhythm section, and singer Walter Brown. McShann and his band arrived in New York in February 1942 and made a strong impression, but World War II made it difficult for any new orchestras to catch on. There was a final session in December 1943 without Parker, but McShann was soon drafted and the band broke up. After being discharged later in 1944, McShann briefly re-formed his group but soon moved to Los Angeles, where he led combos for the next few years; his main attraction was the young singer Jimmy Witherspoon.

McShann was in obscurity for the next two decades, making few records and mostly playing in Kansas City. In 1969 he was rediscovered and McShann (who had first sung on records in 1966) was soon a popular pianist/vocalist. Sometimes featuring violinist Claude Williams, he toured constantly, recorded frequently, and appeared at many jazz festivals, being active into the mid-'90s. Jay McShann, who recorded through the years for Onyx (the 1940 radio transcriptions), Decca, Capitol, Aladdin, Mercury, Black Lion, EmArcy, Vee Jay, Black & Blue, Master Jazz, Sackville, Sonet, Storyville, Atlantic, Swingtime, and Music Masters among others, was a vital pianist and an effective blues vocalist who keept a classic style alive. A live album, Hootie Blues, recorded in 2001 in Toronto and released in 2006 by Stony Plain, showed that McShann could still bring it at the age of 85. He died at the age of 90 on December 7, 2006. ~bio by Scott Yanow

If You Need Me

Kelley Johnson - Home

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 60:03
Size: 137,9 MB
Art: Front

(4:55)  1. Should've Been
(4:24)  2. Be Careful, It's My Heart
(5:04)  3. Home
(4:59)  4. The Sweetest Sounds
(7:52)  5. Wouldn't It Be Loverly - Living Room
(4:22)  6. A Lovely Night
(6:32)  7. Moon River
(2:57)  8. (Looking at the World Through) Rose Colored Glasses
(5:06)  9. From Here - Where Do You Start
(4:52) 10. For An Hour
(3:25) 11. Love Walked In
(5:28) 12. Even You and I

Kelley Johnson is a veteran vocalist with an expressive alto who is willing to give a fresh sound to familiar songs while also tackling overlooked gems. Utilizing two different pianists including the brilliant Geoff Keezer (who has been very effective with singers) and the underrated John Hansen, two different bassists (Nathan Peck or Paul Gabrielson), and three drummers (Matt Jorgenseen, Jon Wikan, and Julian MacDonough), plus brass and reedman Jay Thomas as a guest on three tracks, Johnson has put together a delightful set. 

Her own arrangement of Abbey Lincoln's infrequently performed "Should've Been" has shades of Carmen McRae, while her medley of the show tune "Wouldn't It Be Loverly" (from My Fair Lady) and Lincoln's "Living Room" is very playful. "Moon River" has been recorded so often that it is in danger of overexposure, though the colorful backgrounds arranged by Wikan and Ingrid Jensen bring new life to this old chestnut. Johnson also proves her merit as a songwriter, penning or co-writing three songs, highlighted by her expressive, bluesy "Home." ~ Ken Dryden   
http://www.allmusic.com/album/home-mw0000793637

Personnel: Jay "Bird" Thomas (horns); John Hansen (piano); Matt Jorgensen, Jon Wikan (drums); Kelley Johnson (Vocal)

Jody Sandhaus & Pete Malinverni - Afterglow

Styles: Vocal And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 50:27
Size: 115,8 MB
Art: Front

(6:29)  1. Isn't It a Pity?
(5:13)  2. Afterglow/In The Days Of Our Love
(3:44)  3. Love Is a Necessary Evil
(5:34)  4. I Never Meant To Hurt You
(3:38)  5. It's April Again
(3:59)  6. I'd Like To Hate Myself in The Morning
(4:50)  7. I Don't Know Where To Turn
(3:12)  8. Do You Know Why?
(5:13)  9. I'm In Love Again
(5:30) 10. Love Came On Stealthy Fingers
(2:58) 11. Impossible

Jazz singer Jody Sandhaus and pianist Pete Malinverni set out to record a beautifully intimate album together. No need to light the fire or top off your glass of wine here-just put on the music, relax, and listen. You can, of course, have your favorite drink, but it is not necessary with this selection of songs. The recording is so personal you'll feel as if they are performing in your living room, right there, for you. AFTERGLOW will set you aglow. Different from Ms. Sandhaus' previous three albums done with a trio- Afterglow offers very personal interpretations of some stunning songs. Beautiful arrangements-lyrical improvisations.  http://www.cdbaby.com/cd/sandhaus4 .

Personnel: Jody Sandhaus (vocals); Pete Malinverni (piano).

Bobby Hackett & Jack Teagarden - Baby, Won't You Please Come Home

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 33:20
Size: 76,7 MB
Art: Front

(3:02)  1. Baby, Won't You Please Come Home
(3:28)  2. Way Down Yonder In New Orleans
(4:38)  3. 55th And Brodway
(2:24)  4. Everybody Loves My Baby
(2:55)  5. Indiana (Back Home Again in Indiana)
(2:26)  6. Oh Baby
(2:41)  7. 'S Wonderful
(3:56)  8. It's Wonderful
(2:42)  9. Mama's Gone, Good Bye
(2:25) 10. Sunday
(2:39) 11. I Found a New Baby

One of the classic giants of jazz, Jack Teagarden was not only the top pre-bop trombonist (playing his instrument with the ease of a trumpeter) but one of the best jazz singers too. He was such a fine musician that younger brother Charlie (an excellent trumpeter) was always overshadowed. Jack started on piano at age five (his mother Helen was a ragtime pianist), switched to baritone horn, and finally took up trombone when he was ten. Teagarden worked in the Southwest in a variety of territory bands (most notably with the legendary pianist Peck Kelley) and then caused a sensation when he came to New York in 1928. His daring solos with Ben Pollack caused Glenn Miller to de-emphasize his own playing with the band, and during the late-'20s/early Depression era, "Mr. T." recorded frequently with many groups including units headed by Roger Wolfe Kahn, Eddie Condon, Red Nichols, and Louis Armstrong ("Knockin' a Jug"). 

His versions of "Basin Street Blues" and "Beale Street Blues" (songs that would remain in his repertoire for the remainder of his career) were definitive. Teagarden, who was greatly admired by Tommy Dorsey, would have been a logical candidate for fame in the swing era but he made a strategic error. In late 1933, when it looked as if jazz would never catch on commercially, he signed a five-year contract with Paul Whiteman. Although Whiteman's Orchestra did feature Teagarden now and then (and he had a brief period in 1936 playing with a small group from the band, the Three T's, with his brother Charlie and Frankie Trumbauer), the contract effectively kept Teagarden from going out on his own and becoming a star. It certainly prevented him from leading what would eventually became the Bob Crosby Orchestra. In 1939, Jack Teagarden was finally "free" and he soon put together a big band that would last until 1946. However, it was rather late to be organizing a new orchestra (the competition was fierce) and, although there were some good musical moments, none of the sidemen became famous, the arrangements lacked their own musical personality, and by the time it broke up Teagarden was facing bankruptcy. 

The trombonist, however, was still a big name (he had fared quite well in the 1940 Bing Crosby film The Birth of the Blues) and he had many friends. Crosby helped Teagarden straighten out his financial problems, and from 1947-1951 he was a star sideman with Louis Armstrong's All-Stars; their collaborations on "Rocking Chair" are classic. After leaving Armstrong, Teagarden was a leader of a steadily working sextet throughout the remainder of his career, playing Dixieland with such talented musicians as brother Charlie, trumpeters Jimmy McPartland, Don Goldie, Max Kaminsky, and (during a 1957 European tour) pianist Earl Hines. Teagarden toured the Far East during 1958-1959, teamed up one last time with Eddie Condon for a television show/recording session in 1961, and had a heartwarming (and fortunately recorded) musical reunion with Charlie, sister/pianist Norma, and his mother at the 1963 Monterey Jazz Festival. He died from a heart attack four months later and has yet to be replaced.   https://itunes.apple.com/us/artist/jack-teagarden/id279808#fullText