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Apex Club as he wove blues and fast legato stomps into well conceived and cleanly played patterns. The Noone tradition was perhaps best upheld by Marsala, a greatly underestimated musician.
Teschemacher was one of the intense members of an informal cabal known as the Austin High School Gang. Originally in­spired by the New Orleans Rhythm Kings, he shared RapohVs poignancy, bis tendency to bend and crush high notes until they screamed in pain, and a thin-toned but warm sound that was, one hears, at its least effective in the recording studios.
Pee-Wee Russell is the clarinetist most closely identified with what has been called the "dirty" tone. His smeared notes, gMs-sandi, choked-up effects, sometimes producing a sound that was half B Flat and half saliva, had much in common with Tesch". This capricious spirit and odd phrasing, which at times resembled the stammering of a woman scared by a ghost, com­pensated for whatever may have been his technical problems. Russell is still wailing today in the same sweet-and-sour manner.
The King Oliver band was the incubator for a series of fine clarinetists of the liquid-toned, blues-grounded school, among them the magnificent Barney Bigard, who went on to fame with Duke Ellington in the '30s; Omer Simeon, who spent most of that decade in Chicago with Hines; Albert Nicholas, whose 730s were spent chiefly in the Luis Russell band; and Sidney Bechet, who had been with Oliver in 1916 and spent much of the post-depression decade with Noble Sissle, later gaming international fame as a soprano saxophonist.
In a different class (though also an Oliver alumnus) was Buster Bailey, an academically trained musician who shared Benny Goodman's teacher. Bailey, in a full decade with Fletcher Henderson and another with John Kirby, played in an adroit style with a correct tone, somewhat thin and reedy when com­pared with Noone's, but masterfully fluent,
Jimmy Dorsey, in his years as a fledgling jazzman, was one of the better clarinetists; such early solos as Prayin* the Blues reveal a degree of passion never heard in the later years of com­fortable financial success. Though never a major influence, Dorsey was admired and respected by many musicians.