1. When You're Smiling (The Whole World Smiles With You)
2. Love Walked In
3. Just Friends
4. Shine
5. Maria Elena
Side Two
1. Honeysuckle Rose
2. Scatter-Brain
3. Rain
4. The One I Love Belongs To
5. Somebody Else
6. Oh, Lady Be Good!
Pete Fountain - Clarinet
Frank Flynn - Amplified Marimba
Jack Sperling - Drums
Bob Bain - Guitar
Ray Leatherwood - Bass
This 1981 session is one of my favorites recorded by Pete Fountain after his golden era with Coral Records in the early 1960s. Here he's reunited with old friends in Hollywood, among them the great Jack Sperling, twenty years after he and Pete had made jazz history with classic albums like Pete Fountain Day, At the Bateau Lounge, Pete Fountain's New Orleans, and so many others.
Instead of a traditional rhythm section with piano, or even vibes, Pete employs Frank Flynn for this date on Amplified Marimba. If there are any other albums of Pete's with marimba featured so prominently, I haven't heard them, so as far as I know, this is unique, giving us a chance to hear a more intimate type of ensemble work. Partially because of this, the lines among the musicians are very clearly delineated, and that's a treat. More than any of his other albums, this one comes closest to giving us Pete Fountain take on 'chamber jazz.'
Having said that, while this is a real jazz combo album, as opposed to Pete's forays into easy listening concept albums or big band work, those expecting the old intensity between Fountain and Sperling might be disappointed. Jack is tasteful and swinging on this session, but the old fire -- the pushing and prodding back and forth with Pete that added so much to the early Coral discs-- just isn't here. Instead, the drums become subdued accompaniment.
Highlights of this album include Pete's takes on 'Just Friends' and a ballad he was to record in many settings, 'Maria Elena.' For me, this recording of the latter is his finest--gentle, sweet, intimate, with perfect personnel.
The sound quality on this album is also excellent, giving us a different perspective on the classic 'Pete Fountain sound.' Unlike the early Coral discs, the whole ambiance is much more 'dry', with less reverb. Pete's playing is captured slightly brighter than usual, with more edge. For aficionados of sound, this will give different angles on a master's playing.
I'm one who unabashedly prefers Pete's small ensemble work--with all it's polyphonic implications, creativity, and extended solos--to his larger ensemble or orchestral albums (though many of those are favorites too, for different reasons). So for me this unique ensemble release is a part of the essential collection.
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| Pete Fountain Mardi Gras Doubloon (Eric Seddon Collection) |
