Being familiar with the timeline helps us put artists into context, and understand the importance of the instrument's place in our culture. For the performer, this can give a glimpse into the type of musical symbolism that the horn holds to the greater public.
Some of the important dates on the Jazz Clarinet Timeline are well known. Mention 1938, and most informed jazz fans could tell you about Benny Goodman's Carnegie Hall Concert. Others are less well known.
Here is a basic history of jazz clarinet, with an emphasis on recorded efforts:
Pre-1922--Picou and Tio
New Orleans is the birthplace of jazz, and therefore the birthplace of jazz clarinet. The talking style of playing, the richness of the chalumeau, and the emphasis on full, round sound that can also cut when necessary are all legacies of New Orleans. Players and teachers such as Alphonse Picou and Lorenzo Tio shaped the tradition which was to follow, with Tio in particular teaching many of the NOLA masters of the first generation of recorded jazz clarinetists.
Sidney Bechet
Though he first recorded in 1923, a year affer Leon Roppolo, Bechet was a major musical figure in the United States and Europe prior to that session. It's impossible to exaggerate his importance, not only to clarinet history, but to saxophone and jazz history overall. Bechet has been called the first jazz musician to have a fully developed solo style, and Duke Ellington referred to him as the foundation and symbol of jazz. Of particular interest to the clarinetist are recordings such as 'Blue Horizon', and his duo recordings with another great New Orleans clarinetist, Albert Nicholas (on 'Old Stack O'Lee Blues', Bechet takes the second solo). But honestly, his complete recordings are a must for any serious clarinets. We can't can afford to ignore the depth, soul, and humanity of Sidney Bechet's playing, regardless of the era in which we hear him. In addition to his music making, his autobiography, Treat it Gentle, remains arguably the greatest book written on jazz.
1922--Leon Roppolo
Outside of specialists in early jazz, Leon Roppolo is little mentioned these days. As clarinetist for the New Orleans Rhythm Kings his playing was remarkable and foundational for his influence on Benny Goodman. His altissimo flexibility and overall control is generally overlooked today, but speaks to a much longer history of jazz clarinet excellence, even on a technical level, than is generally recognized. His playing had an impact on several players, including Irving Fazola, Benny Goodman, and Pete Fountain.
1925-27--Johnny Dodds records with Louis Armstrong's Hot Fives.
With the recordings of Johnny Dodds, we have access to an important figure in New Orleans jazz. The Hot Fives recordings made with Louis Armstrong are among the most influential in history, not simply because Armstrong was so important, but the ensemble was as well. Dodds's violin-esque flexibility and core sound are apparent on tunes like 'Lonesome Blues'.
And while the Hot Fives recordings remain his most famous recordings, his work with King Oliver was exceptional as well, not to mention sessions he lead himself.
1926-27--Omer Simeon's Hot Peppers Sessions
Omer Simeon was, in the words of Barney Bigard, an "unsung hero." The sessions Simeon recorded with Jelly Roll Morton displayed a clarinetist with unique polish and subtlety of phrasing ability. (For a good example, check out 'Black Bottom Stomp'). From the outset, the notion of rough, out of tune, unprofessional playing as being somehow the legacy of early jazz is thrown out the window. Simeon's playing proves that soul and technique are not opposed--and like Roppolo, he helped provide a jazz basis for the polished elements, without resorting to a European classical approach.
1928-1930--Jimmie Noone leads a band at the Apex Club in Chicago
Like Simeon and Roppolo, Jimmie Noone's playing is a testament to the unity of technique and soul. Sweet, fluent, and strong at the same time, Noone brought a new level of virtuosity to the jazz clarinet. His chalumeau technique, known for rapid triplet figurations, is rightly singled out, yet perhaps overemphasized, as his flexibility between the altissimo, clarion, and chalumeau was equally impressive. His relentless pursuit of technical mastery lead him to take lessons from Franz Schoepp, teacher of Buster Bailey and the young Benny Goodman, even as he worked as a professional.
Noone's achievement has been too often overlooked. This is partly because he has had few imitators. His playing was at such a high level that few amateurs can approach it, and all too often the New Orleans/Chicago style has been maintained by dedicated amateurs who, admirable as their intent might be, tend to preserve best what they can themselves imitate. On top of this, Noone tends to be overshadowed by the person who learned from him most: Benny Goodman, who not only also studied with Schoepp, but was influenced by Noone's playing in his native Chicago.
1935--Benny Goodman on the "Let's Dance" Program
When a young Benny Goodman was chosen to lead one of the three bands featured on the nationally broadcast "Let's Dance" program, it was a major moment in the history of jazz. In the battle between "commercial" sweet bands and driving "hot" bands, Benny's was the vanguard of uncompromising swing. With a trumpet section that often included driving players like Bunny Berigan, Nick Kazebier, and Pee Wee Erwin, a sax section lead by Hymie Schertzer, Gene Krupa driving from the drummer's chair, and Benny himself playing more virtuosic horn than anyone had ever heard in a jazz band, the Goodman sound was crystallized as a hard hitting, driving force.
1935-36--Goodman's Broadcasts from the Congress Hotel in Chicago
These broadcasts, and this band, were singled out decades later as Goodman's favorite. He encouraged jazz fans to give them another listen, and hear how the band played for the love of the music rather than for mere commercial gain or star status. Fortunately, many excellent recordings still exist from air checks and studio recordings of that time. Historically speaking, it was this band that drove a young Artie Shaw to abandon his "first retirement" when he heard his old rival over the radio one night, as he was driving through the Pennsylvania hills to a farmhouse he was soon to sell.
Spring, 1936-- Artie Shaw's 'Interlude in B-flat'
At the Imperial Theatre in New York, Shaw made his first of many returns to the music business with a composition of his own, entitled Interlude in B-flat for clarinet, strings and piano-less rhythm section. Complimented by George Gershwin after the performance, the piece propelled Shaw into the national discussion and still serves as an anthology of early jazz clarinet techniques, a display of liquid virtuosity, and a precursor to what was later called "Third Stream" (though Shaw himself rejected both the term and most of the music later produced under that label).
August 1936--The Goodman Quartet formed
Arguably the most important small group in the history of clarinet jazz, and among a handful of the most important small groups in the history of music. Goodman's Quartet with Teddy Wilson, Lionel Hampton, and Gene Krupa expanded jazz technically, soulfully, and socially.
1937-39-- The Camel Caravan ("Camel Hot Club") Radio Program
Benny's influence over the airwaves continued through the late 1930s. Using his popularity as a bully pulpit for jazz, Goodman put together an entertaining weekly show featuring his band, his quartet, and the songwriting abilities of Johnny Mercer. Central to the theme of the show was the shtick of Benny as a light hearted professor of jazz--but the history lessons, thin though they might seem by today's standards, were real attempts at raising awareness. A young Pete Fountain listened every week to this broadcast.
January 16, 1938--Goodman leads the First All-Jazz Concert at Carnegie Hall
The shot heard round the jazz world. With this, jazz entered the discussion of serious art music--a discussion that has not always benefited jazz musically, but in many ways has helped preserve the art when popular trends pulled a gullible public away. Once again, Benny's penchant for educating his audience was on display, as he presented not only his own band, but a retrospective which included nods to Louis Armstrong, Bix Beiderbecke, Count Basie (who also performed that night with Goodman), and members of the Ellington band. The Goodman band was not perfect on this night, but several performances, chief among them "Sing Sing Sing" were so profound as to demonstrate the range and depth of American jazz. Goodman, Harry James, and Jess Stacy's solos from that number in particular rival anything written by the highly respected classical composers whose music graced the venue.
Christmas, 1938-Artie Shaw performs 'The Blues' at Carnegie Hall
1938 was a high water mark for the rivalry between Goodman and Shaw. Artie took over the charts that year when his arrangement of a little known Cole Porter tune, 'Begin the Beguine' rocketed him to number one in the nation. From that point on, battle lines were drawn in the press and the public imagination. The year that held so many great musical moments for jazz clarinet, beginning with Goodman's triumph at Carnegie Hall, ended with Shaw's own masterful performance in the same venue.
1940-The first Gramercy 5 is formed
In the Fall of 1940, Artie Shaw called together members of his band to form a "chamber jazz" group that would feature his clarinet, plus muted trumpet, guitar, bass, drums, and, of all instruments, harpsichord--one of the most unique combinations of the era. Like Goodman's Quartet, it diverged from the New Orleans line-up popular since the days of King Oliver. Among the first singles recorded, the blues tune "Summit Ridge Drive" (named for Shaw's home address where the group had rehearsed) became a million seller.
The various Gramercy 5s that Shaw was to assemble over the next fourteen years were to feature some of his finest music--and come closest to his own unyielding artistic goals.
1944--Rompin' with Edmond Hall
By 1944, New Orleans clarinetist Edmond Hall (best know for his work with Louis Armstrong) had absorbed the influence of Goodman and Shaw, fusing it with his own inimitable warmth, to produce some of the greatest (and most neglected) swing era jazz clarinet. The recording sessions for "Rompin' in '44" provide a unique glimpse into this rare genius. There are few jazz musicians who have ever transcended their era--growing into different styles beyond their first popularity. Goodman never convincingly grew into a bebop player, nor did Louis Armstrong, for instance. Of the great jazz clarinetists, the two who stand out most in this regard are Shaw (who was able to expand his musical language indefinitely) and Hall, whose unique brand of NOLA swing remains a benchmark for soulful performance. His 1944 sessions produced many masterpieces, among them cuts of "Caravan" and "Besame Mucho" which have never been surpassed.
1947-48--The unlikely career and tragic death of Stan Hasselgård
In 1947, a young Swede named Åke "Stan" Hasselgård relocated to New York, in order to fully pursue his passion for jazz. Possessing a full sound reminiscent of the swing masters, he began immediately absorbing the more cutting-edge bebop language of the day, making him one of the few boppers who maintained a jazz-based clarinet sound, rather than approaching the horn from a classical angle. He was given the rare honor of being invited to join the Benny Goodman Sextet, and we are fortunate to have live recordings of that unique ensemble. On November 23, 1948 he was tragically killed in a car accident outside of Decatur, Illinois, but before this happened he had already pointed a way for modern jazz clarinet.
April 23, 1949--Buddy DeFranco records as a leader.
One of the longest and most critically decorated tenures for a jazz clarinetist began in 1949, when a 26 year old Buddy DeFranco recorded a set of modern jazz tunes with an orchestra including such luminaries as Lee Konitz, Irv Kluger, and Serge Chaloff. The intelligent, virtuosic approach of DeFranco proved conclusively what the foreshortened career of Stan Hasselgård only hinted at: that the clarinet was a worthy vehicle for modern jazz of all varieties.
Despite the overwhelming evidence he commited to record, his vaste acheivement has yet to be properly assessed. Anyone who thinks the clarinet disappeared after the swing era must simply be ignorant of Buddy's work.
1953--Buddy DeFranco: Mr. Clarinet
After "The King of Swing" and "King of the Clarinet" the name "Mr. Clarinet" sounds both bold and humble, simultaneously. The boldness is justified, as this, perhaps more than any recordings before it, threw down the bebop gauntlet. The quartet album is crammed with classic takes--including such essential tracks as "Buddy's Blues", "Ferdinando", and "It Could Happen to You", with Buddy joined by Art Blakey, Milt Hinton, and Kenny Drew.
Though he first recorded in 1923, a year affer Leon Roppolo, Bechet was a major musical figure in the United States and Europe prior to that session. It's impossible to exaggerate his importance, not only to clarinet history, but to saxophone and jazz history overall. Bechet has been called the first jazz musician to have a fully developed solo style, and Duke Ellington referred to him as the foundation and symbol of jazz. Of particular interest to the clarinetist are recordings such as 'Blue Horizon', and his duo recordings with another great New Orleans clarinetist, Albert Nicholas (on 'Old Stack O'Lee Blues', Bechet takes the second solo). But honestly, his complete recordings are a must for any serious clarinets. We can't can afford to ignore the depth, soul, and humanity of Sidney Bechet's playing, regardless of the era in which we hear him. In addition to his music making, his autobiography, Treat it Gentle, remains arguably the greatest book written on jazz.
1922--Leon Roppolo
Outside of specialists in early jazz, Leon Roppolo is little mentioned these days. As clarinetist for the New Orleans Rhythm Kings his playing was remarkable and foundational for his influence on Benny Goodman. His altissimo flexibility and overall control is generally overlooked today, but speaks to a much longer history of jazz clarinet excellence, even on a technical level, than is generally recognized. His playing had an impact on several players, including Irving Fazola, Benny Goodman, and Pete Fountain.
1925-27--Johnny Dodds records with Louis Armstrong's Hot Fives.
With the recordings of Johnny Dodds, we have access to an important figure in New Orleans jazz. The Hot Fives recordings made with Louis Armstrong are among the most influential in history, not simply because Armstrong was so important, but the ensemble was as well. Dodds's violin-esque flexibility and core sound are apparent on tunes like 'Lonesome Blues'.
And while the Hot Fives recordings remain his most famous recordings, his work with King Oliver was exceptional as well, not to mention sessions he lead himself.
1926-27--Omer Simeon's Hot Peppers Sessions
Omer Simeon was, in the words of Barney Bigard, an "unsung hero." The sessions Simeon recorded with Jelly Roll Morton displayed a clarinetist with unique polish and subtlety of phrasing ability. (For a good example, check out 'Black Bottom Stomp'). From the outset, the notion of rough, out of tune, unprofessional playing as being somehow the legacy of early jazz is thrown out the window. Simeon's playing proves that soul and technique are not opposed--and like Roppolo, he helped provide a jazz basis for the polished elements, without resorting to a European classical approach.
1928-1930--Jimmie Noone leads a band at the Apex Club in Chicago
Like Simeon and Roppolo, Jimmie Noone's playing is a testament to the unity of technique and soul. Sweet, fluent, and strong at the same time, Noone brought a new level of virtuosity to the jazz clarinet. His chalumeau technique, known for rapid triplet figurations, is rightly singled out, yet perhaps overemphasized, as his flexibility between the altissimo, clarion, and chalumeau was equally impressive. His relentless pursuit of technical mastery lead him to take lessons from Franz Schoepp, teacher of Buster Bailey and the young Benny Goodman, even as he worked as a professional.
Noone's achievement has been too often overlooked. This is partly because he has had few imitators. His playing was at such a high level that few amateurs can approach it, and all too often the New Orleans/Chicago style has been maintained by dedicated amateurs who, admirable as their intent might be, tend to preserve best what they can themselves imitate. On top of this, Noone tends to be overshadowed by the person who learned from him most: Benny Goodman, who not only also studied with Schoepp, but was influenced by Noone's playing in his native Chicago.
1935--Benny Goodman on the "Let's Dance" Program
When a young Benny Goodman was chosen to lead one of the three bands featured on the nationally broadcast "Let's Dance" program, it was a major moment in the history of jazz. In the battle between "commercial" sweet bands and driving "hot" bands, Benny's was the vanguard of uncompromising swing. With a trumpet section that often included driving players like Bunny Berigan, Nick Kazebier, and Pee Wee Erwin, a sax section lead by Hymie Schertzer, Gene Krupa driving from the drummer's chair, and Benny himself playing more virtuosic horn than anyone had ever heard in a jazz band, the Goodman sound was crystallized as a hard hitting, driving force.
1935-36--Goodman's Broadcasts from the Congress Hotel in Chicago
These broadcasts, and this band, were singled out decades later as Goodman's favorite. He encouraged jazz fans to give them another listen, and hear how the band played for the love of the music rather than for mere commercial gain or star status. Fortunately, many excellent recordings still exist from air checks and studio recordings of that time. Historically speaking, it was this band that drove a young Artie Shaw to abandon his "first retirement" when he heard his old rival over the radio one night, as he was driving through the Pennsylvania hills to a farmhouse he was soon to sell.
Spring, 1936-- Artie Shaw's 'Interlude in B-flat'
At the Imperial Theatre in New York, Shaw made his first of many returns to the music business with a composition of his own, entitled Interlude in B-flat for clarinet, strings and piano-less rhythm section. Complimented by George Gershwin after the performance, the piece propelled Shaw into the national discussion and still serves as an anthology of early jazz clarinet techniques, a display of liquid virtuosity, and a precursor to what was later called "Third Stream" (though Shaw himself rejected both the term and most of the music later produced under that label).
August 1936--The Goodman Quartet formed
Arguably the most important small group in the history of clarinet jazz, and among a handful of the most important small groups in the history of music. Goodman's Quartet with Teddy Wilson, Lionel Hampton, and Gene Krupa expanded jazz technically, soulfully, and socially.
1937-39-- The Camel Caravan ("Camel Hot Club") Radio Program
Benny's influence over the airwaves continued through the late 1930s. Using his popularity as a bully pulpit for jazz, Goodman put together an entertaining weekly show featuring his band, his quartet, and the songwriting abilities of Johnny Mercer. Central to the theme of the show was the shtick of Benny as a light hearted professor of jazz--but the history lessons, thin though they might seem by today's standards, were real attempts at raising awareness. A young Pete Fountain listened every week to this broadcast.
January 16, 1938--Goodman leads the First All-Jazz Concert at Carnegie Hall
The shot heard round the jazz world. With this, jazz entered the discussion of serious art music--a discussion that has not always benefited jazz musically, but in many ways has helped preserve the art when popular trends pulled a gullible public away. Once again, Benny's penchant for educating his audience was on display, as he presented not only his own band, but a retrospective which included nods to Louis Armstrong, Bix Beiderbecke, Count Basie (who also performed that night with Goodman), and members of the Ellington band. The Goodman band was not perfect on this night, but several performances, chief among them "Sing Sing Sing" were so profound as to demonstrate the range and depth of American jazz. Goodman, Harry James, and Jess Stacy's solos from that number in particular rival anything written by the highly respected classical composers whose music graced the venue.
Christmas, 1938-Artie Shaw performs 'The Blues' at Carnegie Hall
1938 was a high water mark for the rivalry between Goodman and Shaw. Artie took over the charts that year when his arrangement of a little known Cole Porter tune, 'Begin the Beguine' rocketed him to number one in the nation. From that point on, battle lines were drawn in the press and the public imagination. The year that held so many great musical moments for jazz clarinet, beginning with Goodman's triumph at Carnegie Hall, ended with Shaw's own masterful performance in the same venue.
1940-The first Gramercy 5 is formed
In the Fall of 1940, Artie Shaw called together members of his band to form a "chamber jazz" group that would feature his clarinet, plus muted trumpet, guitar, bass, drums, and, of all instruments, harpsichord--one of the most unique combinations of the era. Like Goodman's Quartet, it diverged from the New Orleans line-up popular since the days of King Oliver. Among the first singles recorded, the blues tune "Summit Ridge Drive" (named for Shaw's home address where the group had rehearsed) became a million seller.
The various Gramercy 5s that Shaw was to assemble over the next fourteen years were to feature some of his finest music--and come closest to his own unyielding artistic goals.
1944--Rompin' with Edmond Hall
By 1944, New Orleans clarinetist Edmond Hall (best know for his work with Louis Armstrong) had absorbed the influence of Goodman and Shaw, fusing it with his own inimitable warmth, to produce some of the greatest (and most neglected) swing era jazz clarinet. The recording sessions for "Rompin' in '44" provide a unique glimpse into this rare genius. There are few jazz musicians who have ever transcended their era--growing into different styles beyond their first popularity. Goodman never convincingly grew into a bebop player, nor did Louis Armstrong, for instance. Of the great jazz clarinetists, the two who stand out most in this regard are Shaw (who was able to expand his musical language indefinitely) and Hall, whose unique brand of NOLA swing remains a benchmark for soulful performance. His 1944 sessions produced many masterpieces, among them cuts of "Caravan" and "Besame Mucho" which have never been surpassed.
1947-48--The unlikely career and tragic death of Stan Hasselgård
In 1947, a young Swede named Åke "Stan" Hasselgård relocated to New York, in order to fully pursue his passion for jazz. Possessing a full sound reminiscent of the swing masters, he began immediately absorbing the more cutting-edge bebop language of the day, making him one of the few boppers who maintained a jazz-based clarinet sound, rather than approaching the horn from a classical angle. He was given the rare honor of being invited to join the Benny Goodman Sextet, and we are fortunate to have live recordings of that unique ensemble. On November 23, 1948 he was tragically killed in a car accident outside of Decatur, Illinois, but before this happened he had already pointed a way for modern jazz clarinet.
April 23, 1949--Buddy DeFranco records as a leader.
One of the longest and most critically decorated tenures for a jazz clarinetist began in 1949, when a 26 year old Buddy DeFranco recorded a set of modern jazz tunes with an orchestra including such luminaries as Lee Konitz, Irv Kluger, and Serge Chaloff. The intelligent, virtuosic approach of DeFranco proved conclusively what the foreshortened career of Stan Hasselgård only hinted at: that the clarinet was a worthy vehicle for modern jazz of all varieties.
Despite the overwhelming evidence he commited to record, his vaste acheivement has yet to be properly assessed. Anyone who thinks the clarinet disappeared after the swing era must simply be ignorant of Buddy's work.
1953--Buddy DeFranco: Mr. Clarinet
After "The King of Swing" and "King of the Clarinet" the name "Mr. Clarinet" sounds both bold and humble, simultaneously. The boldness is justified, as this, perhaps more than any recordings before it, threw down the bebop gauntlet. The quartet album is crammed with classic takes--including such essential tracks as "Buddy's Blues", "Ferdinando", and "It Could Happen to You", with Buddy joined by Art Blakey, Milt Hinton, and Kenny Drew.
1953 - Tony Scott: The Brunswick Sessions
One of the most unique and wide ranging jazz clarinetists in history, Tony Scott, made his debut recordings as a Quartet leader with his Brunswick sessions. Released under various titles, these sessions gave a new shape to modern jazz clarinet - lyrical, probing, insistent and often extreme in register and volume, Scott might be compared to Miles Davis if Buddy DeFranco was Dizzy Gillespie. Like DeFranco, his existence and long catalog of masterful albums contradicts the narrative that clarinet was no longer represented in jazz after the Swing Era.
1954--The Final Gramercy 5 sessions
Among the very finest jazz clarinet recordings ever made, these last recordings of the enigmatic Artie Shaw were recorded after weeks of meticulous, paid rehearsal--highly unusual for that era. It seems Shaw deliberately recorded his "whole book" before saying goodbye to the world of creative music making. The four CDs worth of material left to us from those sessions serve as both a retrospective and precursor to much of what followed in modern jazz.
When these were released in the 1990s, Shaw gave his opinion on the history of jazz since the final Gramercy 5, an opinion that perhaps sheds considerable light on jazz clarinet, and why it might have struggled since then:
"Isn't it interesting--here we are, almost 40 years later, and the records still hold up. [...] Not a lot has happened in jazz since 1954, except that it got more esoteric and hate-filled. I don't know what's going on in the music now. Music is not a political instrument; if you want to do that, you write the 'Horst Wessel Song' or the 'Star Spangled Banner', neither of which has very much to do with music. Look at the Russians with their painting--when it becomes 'socialist realism', come on, you're dealing with caricature."
For those who can read between the lines, this is a highly compact and bracing indictment of much of the more ideologically driven jazz since 1954. For the jazz clarinetist, it's worth thinking through in particular, as esoteric and angry "hate-filled" music seem even less congruent with a deep understanding of our instrument than others.
1959--Pete Fountain's Tetralogy
1959-61--Bill Smith's Trilogy with Dave Brubeck
In one of the rare blessed moments for a jazz clarinetist since 1954, Bill Smith managed to get three albums of his own compositions recorded with a top modern jazz ensemble: the Dave Brubeck Quartet. The resulting records (The Riddle, Brubeck a la Mode, and Near-Myth) presented some of the most interesting and satisfying jazz clarinet of any era.
[Part 2 of this Timeline will consider the developments in the world of Jazz Clarinet since 1961]
1954--The Final Gramercy 5 sessions
Among the very finest jazz clarinet recordings ever made, these last recordings of the enigmatic Artie Shaw were recorded after weeks of meticulous, paid rehearsal--highly unusual for that era. It seems Shaw deliberately recorded his "whole book" before saying goodbye to the world of creative music making. The four CDs worth of material left to us from those sessions serve as both a retrospective and precursor to much of what followed in modern jazz.
When these were released in the 1990s, Shaw gave his opinion on the history of jazz since the final Gramercy 5, an opinion that perhaps sheds considerable light on jazz clarinet, and why it might have struggled since then:
"Isn't it interesting--here we are, almost 40 years later, and the records still hold up. [...] Not a lot has happened in jazz since 1954, except that it got more esoteric and hate-filled. I don't know what's going on in the music now. Music is not a political instrument; if you want to do that, you write the 'Horst Wessel Song' or the 'Star Spangled Banner', neither of which has very much to do with music. Look at the Russians with their painting--when it becomes 'socialist realism', come on, you're dealing with caricature."
For those who can read between the lines, this is a highly compact and bracing indictment of much of the more ideologically driven jazz since 1954. For the jazz clarinetist, it's worth thinking through in particular, as esoteric and angry "hate-filled" music seem even less congruent with a deep understanding of our instrument than others.
1959--Pete Fountain's Tetralogy
In 1959, Pete Fountain came to his famous
realization that "Champagne and Bourbon don't mix", decided that Hollywood just
wasn't for him, and packed his family for the return trip to New Orleans. But
before he left, he cut two very important albums. The first, Pete Fountain's New Orleans, seamlessly blended Pete's New Orleans style clarinet with a
cool, West Coast rhythm section. It went on to become one of Fountain's best
selling records, and is still available for download over sixty years later. The
second, equally impressive despite having sadly slipped into obscurity, is
Pete's first collaboration with the large ensemble scoring of Charles 'Bud'
Dant, entitled The Blues.
After arriving in New Orleans, Pete quickly recorded two others--Live at the Bateau Lounge and Pete Fountain Day. Both of these are out of print, which is a major problem for clarinetists hoping to get a full picture of Fountain's brilliance as a jazz musician. These four remarkable albums recorded in five months are referred to here as Pete Fountain's Tetralogy.
Without question, Pete Fountain was the most successful jazz clarinetist with the general public since the days of Benny Goodman and Artie Shaw. That he didn't play bebop, and that his commercial success has sometimes been fueled by Nashville arrangements and easy listening albums, has often lead to his neglect by establishment critics. Yet few of his detractors have noticed two very important things: first, that the two biggest criticisms of Pete Fountain's style (that he is either too traditional or not traditional enough) are contradictory, and second, that his fusion of traditional New Orleans jazz with West Coast cool jazz and Nashville were as brilliant as Edmond Hall's fusion of NOLA and 'hot' swing.
The Tetralogy in particular forms a body of impressive work that ought to be required listening for all jazz clarinetists.
Pete Fountain's massive recorded output over the next several decades accomplished more than stylistic fusion: he kept alive the tradition of jazz clarinet sound, steeped in both New Orleans tradition (from Irving Fazola's influence) and swing (from Benny Goodman). That the public has preferred this beautiful style of playing is worth noting and carrying forward.
In one of the rare blessed moments for a jazz clarinetist since 1954, Bill Smith managed to get three albums of his own compositions recorded with a top modern jazz ensemble: the Dave Brubeck Quartet. The resulting records (The Riddle, Brubeck a la Mode, and Near-Myth) presented some of the most interesting and satisfying jazz clarinet of any era.
***
[This is a revision of the original timeline published back in 2013]
