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Handy, W.C. (1873–1958) [Teagarden, Jack. (1905–1964)]. Father of The Blues, SIGNED to Jack Teagarden. New York: Macmillan. 1944. Second edition. Blue cloth boards with black lettering, 317 pp. Inscribed somewhat cryptically by the author on the first free endpage "To Jack Teagarden, with ---- precaution, W.C. Handy," and dated 5-16-1946. With Teagarden's ownership stamp above the inscription. Boards rubbed and spine heavily chipped at top. A very important association copy.



Handy, known as "The Father of Blues," was the composer of "Beale Street Blues" which became jazz trombonist Jack Teagarden's signature song. Teagarden is usually considered to be the most innovative jazz trombone stylist of the pre-Bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists, and of particular interest in terms of the present association copy, was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.

Handy, W.C. (1873–1958) [Teagarden, Jack. (1905–1964)] Father of The Blues, SIGNED to Jack Teagarden

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Handy, W.C. (1873–1958) [Teagarden, Jack. (1905–1964)]. Father of The Blues, SIGNED to Jack Teagarden. New York: Macmillan. 1944. Second edition. Blue cloth boards with black lettering, 317 pp. Inscribed somewhat cryptically by the author on the first free endpage "To Jack Teagarden, with ---- precaution, W.C. Handy," and dated 5-16-1946. With Teagarden's ownership stamp above the inscription. Boards rubbed and spine heavily chipped at top. A very important association copy.



Handy, known as "The Father of Blues," was the composer of "Beale Street Blues" which became jazz trombonist Jack Teagarden's signature song. Teagarden is usually considered to be the most innovative jazz trombone stylist of the pre-Bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists, and of particular interest in terms of the present association copy, was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.