EIGHT NEW BARS OF TESCH ON TENOR? I HOPE SO.

“Atticus70” (that’s the generous and careful Emrah Erken) proposes that the personnel of this hot dance record is: Sam Lanin dir: Jimmy McPartland, ? Al Harris, c / Tommy Dorsey, tb / Benny Goodman, cl, as / as / Frank Teschemacher, ts / p / bj / bb / d / Scrappy Lambert, v. New York, October 25, 1928.  They are or were THE IPANA TROUBADOURS and the song is DO YOU?

Is it Tesch?  Sure sounds like him:

Or isn’t he?  I recognize “phrase-shapes,” to use the late Dick Sudhalter’s wise words, that Tesch played on clarinet.  And if it isn’t Tesch, the unknown tenor player has an energetic spark that I enjoy listening to — to say nothing of frisky young Mr. Goodman.  Enjoy it — more fun than debating!

I had a momentary ferocious crush on the Twenties girl with glasses . . . an added bittersweet pleasure!

May your happiness increase.

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11 responses to “EIGHT NEW BARS OF TESCH ON TENOR? I HOPE SO.

  1. Doug Pomeroy

    Hey, listen to the slur he plays. A sure sign of Trumbauer, not Tesch.

  2. Wouldn’t be Trumbauer, as on October 25,1928 he was with the Whiteman band, due for a concert at the Ryman Auditorium in Nashville. More likely, the band is largely made of Ben Pollack men. Definitely Scrappy on the vocal, though.

  3. Not convinced that it’s Tesch on tenor; sounds more like Fud Livingston to me.

    But Benny plays Tesch-like grace notes at 1:16 and again at 1:26!

  4. I agree, it sounds like Fud Livingston to me too. Great record!

  5. Trumbauer…Tesch…Who cares! I’m in love with that girl with glasses.

  6. Bill Haesler

    I always assumed (back in the LP reissue days) that it was Tram, because of the slur, but now stand corrected on Randy’s evidence.
    Robert Stockdale (Tommy Dorsey On The Side) opts for Tesch. Russell Connor (Listen To His Legacy} does not make a guess regarding the tenor player and cannot accept that it is BG on clarinet. He seems inclined towards Jimmy Dorsey, with BG on alto.
    I have never accepted BG on clarinet and always believed it be Jimmy D. I now wonder if it could be Larry Binyon on tenor as (as most people assume) the personnel was drawn from the Ben Pollack band. However, I also like Hal’s Fud Livingston suggestion.
    Some more re-listening required.
    Kind regards,
    Bill.

  7. The enthusiastic schoolboy in me loves these little mysteries (especially one involving Tesch, an early favourite), even though the mature, sensible person that I pretend to be, agrees with Pernath: “who cares!”

    I’ve listened and re-listened, and still can’t make up my mind, though I agree that the Tram-like slur is not typical Tesch (and the rest of the solo does not follow typical Tram-lines, quite apart from Randy Skretvedt’s authoritative-sounding statement that Tram was with Whiteman on that date.

    The Fud Livingstone proposition is definitely worth serious consideration, but I’m not that familar with his playing, apart from two 1928 Nichols versions of ‘Feelin’ No Pain’ (and even with then, I understand there’s some dispute as to the attribution of clarinet and tenor solos, as Pee Wee Russell was also present on both sessions).

    And if all that wasn’t enough, Bill Haesler sugggests Jimmy Dorsey rather than BG as the clarinettist. Listening (yet again) I can hear his point, but on balance would still go for Goodman.

    The one and only (to the best of my knowledge) undisputed example of a Tesch tenor solo is the final middle-eight on September 29 1928 recording of Cherry by the ‘Big Aces’ (aka ‘Big Chocolate Dandies’).

    It is perhaps significant to note that (according to Rolf Enoch’s notes to the Jazz Archives CD ‘Muggsy, Tesh and the Chicagoans Vol 2’), “Tesch had an engagement in New York with the Sam Lanin Orchestra from early September to early October 1928,” so the dates would seem to support the contention that it *might be* Tesch on this mystery record.

    I’ve emailed a link to this piece to my fellow Brummie and early-reeds expert Norman Field and asked him for his opinion. Norman has other priorities just at the moment, but hopefully he’ll find time to reply.

    PS: Agree about the flapper in the specs!

  8. Norman Field: “Well, it sounds very much like Fud Livingston to me; but I have never heard Tesch on tenor properly!”

  9. Bill brought up some good points – I’m curious about the Benny Goodman clarinet listing as well. The style seems wrong (not as subtle as usual). (See http://www.youtube.com/watch?v=rsiczuYwy1s&t=1m27s for comparison to Benny’s 1930 style)

    What an interesting recording this is! So much mystery and intrigue!!

  10. Coming late to an old discussion, but I remain baffled by the thought that Goodman is not playing the clarinet solo here. It is difficult to say what Goodman’s melodic style was during this period; it was shifting from session to session, sometimes based on context, sometimes seemingly according to his mood. Careful assessment of the rudiments of his clarinet playing is a different matter. This sounds like Goodman playing the clarinet… The attack (definite but not crude), the solidity of tone (or chosen lack thereof), the vibrato exhibited, the “dirty” undertone… That being said, speaking in terms of “phrase-shapes” or even the direct “language” employed, I think it informative to compare this solo with Goodman’s effort on the Red Nichols’ recording of “Indiana” from 18 April 1929…

    Oh, and I must also vote for Fud Livingston (and the lovely–then–young woman in the glasses)…

  11. “Then” is true but isn’t she lovely now . . . even if her corporeal self has gone to another plane? Thanks for the analysis: I know that you know.

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