My Teles (and Strats) have always had glossed maple boards.
Glossed Maple is the original Tele (and Strat) fretboard because it makes whole-step or chord string bending and sliding of chords easier with the slick, hard surface vs. the much softer rosewood surface, and the guitar was designed with working country & western players top-of-mind.
Also with that in mind, its hardness makes it more durable as it's almost impossible to dent & groove, and it's easy to maintain, impervious to the ravages of sweat or the dry climates (i.e., Southern Californa) it was born in (no need to condition it, oil it like a rosewood board).
As for tone, once again, with c&w in mind, glossed maple helps produce brighter, snappier treble, mids and bass than rosewood. On the other hand, it does little or nothing to contribute to warmth or sustain.
Some original Tele players sanded the gloss off the maple to get a bit more warmth and/or sustain. Of course, satin finished, non-glossed maple boards eventually became an option.
Rosewood boards became an option on Teles and Strats as the 60's rolled in, and no doubt, to compete in the solid-body market with Gibson's late-to-the party Les Paul series.
Differences in fretboard wood effect on tone has been debated ad infinatum, but I tend to agree with the theory that it's 'about 15%' of a factor, mixed with body wood, size, shape and type (solid, hollow or semi-hollow), pickups, bridge materials & design, string-thru body or on top, and string gauge, surface and type (and age). Not accounted for in that mix is the amp nor the player's left & right hand technique and attack (involving fingers and/or pick and the pick's material, gauge) since those are virtually infinite variables.