This reissue is a collection of recordings on Brunswick, Vocalion, Melotone, and Decca united by a common thread – each track showcases the work of Benny Goodman and Jack Teagarden together as sidemen in various bands from 1929 through 1934. The CD deserves a five-star review and features practically an all-star lineup. The first session is under Red Nichols’ name and includes bandleaders-to-be Glenn Miller and Gene Krupa (in addition to Benny and Tea, of course), as well as eminent sidemen Manny Klein, Babe Russin, and Arthur Schutt. "Dinah" is taken at a moderately slow tempo, but falls into the groove and doesn’t sound the least bit like it’s dragging. Great work by all can be heard in this piece, but of course BG and Tea are the most notable. In fact, it is this piece that represents Tea in the Smithsonian.
The second session is again under Nichols, but has a few personnel changes, including the addition of Jack’s brother Charlie. "Sweet Georgia Brown" finds Tea doing his slide-and-water glass trick on the last chorus for a complete change of the mood and some interesting texture. Benny shows some of his gritty side as well in his lively solo on "China Boy." He is followed by Joe Sullivan doing some rhythmically powerful piano work to Krupa’s crisp backing. Also, the song opens and closes with two very laid-back cadenzas by Tea. More of that relaxed, bluesy trombone playing comes through in "The Sheik of Araby" along with Teagarden’s equally warm vocal. Like his trombone playing, his singing is both lazy and lively at once. The opening exchange of dialogue also pokes fun at the hackneyed crooning typical of the 1920’s.
Next up are four sides recorded under Irving Mills featuring Bix Beiderbecke and Joe Venuti. The two takes of "Loved One" don’t differ a great deal, but the second take finds Bix sounding more alert, despite his failing health and general decline. On "Deep Harlem," everyone (especially Bix) is in great form, and Benny plays a wailing, heart-wrenching solo underscored with some moaning blue strains from Tea. Krupa takes the band through the tempo and mood changes quite well.
The next four sides are by Joe Venuti, Eddie Lang and their All-Star Orchestra. Of course we are treated to the great interplay between Venuti and Lang on these tracks, and two feature Teagarden vocals. On "Beale Street Blues," the entire band sounds supremely relaxed and the feeling is carried over to the beginning of "After You’ve Gone," with Tea singing the lyrics as only he could, followed by Venuti putting the tempo into high gear for an exciting finish. Goodman does a bit of call-and-response with himself as he goes between registers in "Farewell Blues," a delightfully effective idea he would take to a greater extent with his own band later in "Get Happy."
Adrian Rollini and his bouncing bass saxophone front the last four sides, with Ella Logan (not particularly known for being a jazz singer, per se) doing some excellent jazz vocals on the first side, "It Had to Be You." Rollini shows the sweet and lovely side of his bass sax in the opening to "Sugar," followed by the moving tribute of "Davenport Blues," an homage to Bix using one of his own compositions only three years after his death. The band plays with an almost melancholy tone, yet there isn’t a trace of the music being dragged down. A cheery and snappy arrangement of Gershwin’s "Somebody Loves Me" perks things up, followed by a lively rendition of "Riverboat Shuffle" (also a Bix tribute). Rollini bounces into the number with power and swing, making way for great individual and group work and a satisfying way to close the album.
B.G. and Big Tea in NYC is one of those CDs that will quickly find a home in your stereo and not leave for quite some time. In short, it’s some great jazz featuring many brilliant musicians in rising careers. But for a moment, forget all the fame these jazzmen would achieve; it’s just some great jazz, period.
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