Joe Garland, the author of “In the Feeling,” never became popular himself but was a significant push in jazz behind the moments. An excellent reed participant who in his profession was noticed on tenor, baritone, and bass saxophones furthermore to clarinet, Garland was also a talented arranger-composer. He started playing while surviving in NEW YORK and he researched music in the Aeolian Conservatory in Baltimore with Shaw College or university. Garland played traditional music until 1924 when he became a member of Graham Jackson’s Seminole Syncopators, with whom he produced his documenting debut. Other organizations in the ’20s included Elmer Snowden (1925), Joe Steele, Henri Saporo, Leon Abbey (with whom he toured SOUTH USA), Charlie Skeete, Jelly Move Morton (he made an appearance on a few of Jelly Roll’s information), Steele once again, and Bobby Neal (1931). Garland produced a solid impression as both a trusted section participant and a main arranger using the Mills Blue Tempo Band (1932-1936, like the period when it had been bought out by Lucky Millinder) and adopted that up with stints with Edgar Hayes (1937), Don Redman (1938), and Louis Armstrong (1939-1942), offering as Armstrong’s musical movie director. Garland freelanced for a while, used Claude Hopkins, and was back again with Louis Armstrong’s last big music group (1945-1947). Later careers included the orchestras of Herbie Areas, Hopkins, and Earl Hines (1948). Joe Garland became a part-time music in the ’50s, sometimes leading both a little and a large band. Few most likely recognize that his compositions included strikes for Glenn Miller (“In the Disposition”) and Les Dark brown (“Step Frog”).