He worked with Eddie Condon, Art Hodes, Gene Krupa, Benny Goodman, Jack Teagarden, and Tommy Dorsey, often leading his own bands.
As one of its standout members, McPartland brought a melodic yet energetic approach to the cornet, helping the Gang introduce a younger, more modern audience to jazz.
The group’s informal jam sessions at Chicago’s South Side clubs became legendary, solidifying their status as innovators of the city’s vibrant jazz scene.
After relocating to New York City in the late 1920s, McPartland joined several prominent bands, working with jazz greats such as Benny Goodman and Gene Krupa.
Finally, in 1927, he joined Ben Pollack's band for two years,[3] and was one of the main soloists (with Benny Goodman, Bud Freeman, Jack Teagarden and Glenn Miller).
McPartland encouraged Marian to develop her own style and form her own group, which led to the establishment of her long residency at the Hickory House, with a trio including drummer Joe Morello.
McPartland’s meeting with pianist Marian Turner during World War II marked a turning point in both his personal and professional life.
[9] In the 1970s, Jimmy McPartland led a quintet that celebrated the evolution of jazz, performing pieces that spanned traditional Dixieland, swing, and more modern styles.
A notable performance in 1973 featured the group interpreting classics like “Deep Purple,” demonstrating McPartland’s ability to adapt to diverse jazz styles while maintaining the soulful, melodic qualities of his cornet playing.
[7] McPartland’s work in small ensembles, such as his jazz quintet and sextet, demonstrated his ability to bring musicians together while allowing each player’s individuality to shine.
McPartland’s leadership style emphasized collaboration, ensuring that every musician had space to contribute creatively while maintaining the cohesive swing that defined his ensembles.
[11] McPartland's outgoing personality and stage presence led him to try acting, resulting in a featured role in The Alcoa Hour episode "The Magic Horn" in 1956 with Sal Mineo, Ralph Meeker, and other jazz musicians.
In 1961, he appeared on a DuPont Show of the Month musical extravaganza called Chicago and All That Jazz, featuring Gene Krupa, Jack Teagarden, Eddie Condon, Pee Wee Russell, and Lil Armstrong.
In a 1980 interview, McPartland emphasized the importance of keeping traditional jazz alive, stating that sharing the joy of Dixieland music with new audiences was one of his greatest pleasures.
In his later years, McPartland’s playing retained the improvisational energy of his early career while incorporating elements of swing and contemporary jazz, showcasing his versatility and enduring influence.
He was instrumental in establishing jazz as a staple in community arts programs on Long Island, working with local schools and cultural organizations to introduce young audiences to the genre.
His cornet playing, deeply rooted in the Chicago style, was celebrated for its warmth, clarity, and emotional resonance, qualities that made him a beloved figure among fans and fellow musicians alike.
[10] The Los Angeles Times described McPartland as a pivotal figure in the evolution of Chicago jazz, praising his ability to bridge the gap between traditional and modern styles.
[5] Marian McPartland often spoke of Jimmy’s profound influence on her development as a jazz musician, highlighting his ability to balance technical mastery with emotional depth.
Through his dedication to preserving Chicago’s unique jazz identity, McPartland ensured that the genre remained a vital part of the city’s cultural landscape.