Pete Fountain * Plenty of Pete * Coral Records (CRL 757424) * 1963

Side One

After You've Gone

Medley: a. Stardust b. Is It True What They Say About Dixie 

c. When The Saints Go Marching In d. Dixie

Don't Be That Way

On The Sunny Side Of The Street

Side Two

Just One Of Those Things

Stranger On The Shore

Jazz Me Blues

Blue Skies

Pete Fountain, clarinet

Jack Sperling, drums

Morty Corb, bass 

Godfrey Hirsch, vibes

Bobbie Gibbons, guitar 

John Propst, piano


Rigid traditionalists (perhaps more than a little intimidated by Pete's virtuosity) dismiss Pete Fountain as tainted by styles beyond the borders of the Crescent City. Conversely, modernists (perhaps jealous of his emotional connection with audiences) dismiss him as too traditional. Albums like this, however, reveal Fountain for what he was: a jazzman very much of his day and age, fusing the old seamlessly with the new; respecting the traditions of his native city while moving them forward.

Plenty of Pete is first and foremost one of those clear, crisp nightclub sets he was so adept at shaping, and perfectly in the line of his earlier small combo albums for Coral. Listeners familiar with Pete Fountain's New Orleans,  At the Bateau Lounge, Pete Fountain's French Quarter, and Pete Fountain's Music from Dixie will find themselves once again at Pete Fountain's French Quarter Inn on Bourbon Street, sipping a drink in the cool air conditioning. It's also one of Pete's more outward looking albums of that era, paying homage to Benny Goodman in particular by featuring a number of tunes directly associated with the King of Swing, beginning with 'After You've Gone.'

'After You've Gone' is one of those tunes that was lodged permanently in the jazz clarinet canon by Jimmie Noone and his Apex Club Orchestra, from there influencing a young Benny Goodman, who went global with it, using the tune as a small group show piece from the mid-1930s throughout the rest of his career. Fountain's version is based substantially on Goodman's, but the execution, tempo, and head arrangement are uniquely Fountain-esque, with lilt, drive, and virtuosity all his own.

After a medley that includes 'Stardust' and a couple of standard New Orleans tunes ('Is It True What They Say About Dixie?" and 'The Saints') we're back in Benny's territory with a smooth version of 'Don't Be That Way.' Side One wraps up with a cool, subtle, take 'On the Sunny Side of the Street', Godfrey Hirsh's vibes setting the table perfectly each time for Pete's main course. 

Side Two opens with 'Just One of Those Things', the band moving very much like other modern jazz ensembles of the early '60s, then taking on Acker Bilk's smash hit 'Stranger on the Shore.' I'm not sure if this is the first example of an American clarinetist covering a British clarinetist's tune (there had of course been plenty of trans-atlantic influences among other song writers earlier than this), but it's certainly a very successful one. Pete and the boys give their own Gulf Coast take, adding some walking up-tempo choruses after the theme, in nice contrast to the original.

The album closes out with satisfying versions of 'Jazz Me Blues' and 'Blue Skies', demonstrating the permanent value of both numbers in the repertoire.

As I continue to survey these classic albums (this is my seventeenth Pete Fountain album reviewed on The Jazz Clarinet to date)  I'm astonished by the lack of reissues. To my knowledge, other than tracks which have been reissued on compilation albums, Plenty of Pete remains available only on the original vinyl, if a collector can procure a copy. I firmly believe that the jazz Pete and his groups produced--especially in the early 1960's--was as good as any recorded. In some ways, his work even exceeds the more critically touted modernists. If the public was given the chance to hear this beautiful music again in its original context, who knows what renaissance might be spurred? C.S. Lewis once mused that his age might be one day remembered as that of Tolkien and Wodehouse, rather than Lawrence and Joyce. As time progressed, he turned out to be more prophetic than the scoffers imagined. What if the '60s, someday, are similarly remembered as much for Fountain as Miles? They'd have to be re-released, of course, but the amount of beauty and joy to be found here ought to be enough to inspire such a project. Is there really so much beauty and joy in the world that we can afford to leave any of it behind?


    

Pete Fountain Mardi Gras Medallion
(Eric Seddon Collection)

Pete Fountain with Phil Zito * Dixieland Express * Columbia (CL 6110) * 1950

Side One

Bob Cats
Shine
Bye and Bye
Original Dixieland One Step

Side Two

She'll Be Coming 'Round the Mountain
Zito's Zag
Clarinet Marmalade
Tulane Swing

Phil Zito and his New Orleans International City Dixielanders

Phil Zito, drums
Pete Fountain, clarinet
George Girard, trumpet
Joe Rotis, trombone
Roy Zimmerman, piano
Emile Christian, bass


In the last months of 1949, a nineteen year old Pete Fountain went into the studio to record with Phil Zito's band, the somewhat wordily named New Orleans International City Dixielanders. Until someone tells me otherwise, from the research I've managed, these appear to be the first commercial recordings of Pete Fountain.

Impressively, Pete was already a mature New Orleans style player--in fact,  he was beyond what most players reach in terms of the technical demands of this music. To perform this style effectively, a clarinetist needs a commanding sound in all registers--one that can cut through trumpet, trombone, and rhythm section with equal polyphonic strength, all while maintaining a good tone and intonation. Most clarinetists fall short in one or more of these categories. Beyond that, the clarinetist must maintain excellent rhythmic drive, playing firmly in the groove of the beat, and swinging effectively. Because the clarinet is the fleetest instrument on the front line, with the largest tesitura, arpeggiating the chord structures and outlining the harmonies is often a primary task. In short, the clarinet's role, like all others in a New Orleans style band, has specific demands rhythmically and harmonically. Fountain, by age 19, was already master of these aspects--forming rococo embellishments to the melodies at times, harmonizing George Girard's trumpet leads at others, creating altissimo obligatos at climaxes--all while making sure not to step on anyone else's line. He was also a strong soloist, featured throughout this album from the very first chorus on 'Bob Cats' forward.

This is a short, ten-inch LP, featuring only eight numbers which average somewhere around two minutes and fifty seconds or so per tune. That means there isn't much musical 'stretching out' in terms of soloing here. Indeed, most of these numbers sound like previews--we're left to imagine what the band sounded like live when they really took off from these templates and let it rip.

Highlights include Pete's work on 'Bob Cats', and his obligato playing on the opening of 'Bye and Bye' followed by his uptempo comping and chorus. This recording of 'Bye and Bye' is particularly interesting in that it attests to the influence of George Lewis, which Pete was to cite later in his career. While Faz and Benny were his most dominant influences, Pete often talked about the importance of sitting in with Lewis: this early recording is probably the most eloquent example of the fruits of that relationship. Pete was already the more technically adept player, and would go on to musical projects beyond the abilities of Lewis, but the focus on soul, the spiritual, and tradition was to play an important and decisive part in Fountain's art throughout his career.

The rest of this band is excellent--truly complimentary musicians for Pete, and an excellent example of Hot Jazz, New Orleans Style, Dixieland or whatever you want to call it. The polyphony is there, the groove, the mastery of their instruments. The only complaint: there isn't more of it. Fortunately Pete was to spend a long lifetime adding recordings for us...

Pete Fountain's Music from Dixie * Coral Records (CRL 757401) * 1963

Bye Bye Bill Bailey
I Wish I Could Shimmy Like My Sister Kate
High Society
(When It's) Darkness on the Delta
Song of the Wanderer (Where Shall I Go?)
Dixie Jubilee

Struttin' With Some Barbeque
Shine
Chlo-e (Song of the Swamp)
Milenberg Joys
When You're Smiling (The Whole World Smiles With You)
Hallelujah 

Pete Fountain * Clarinet
Charles Teagarden * Trumpet
Eddie Miller * Tenor Saxophone
Moe Schneider * Trombone
Bobby Gibbons * Guitar
Stan Wrightsman * Piano
Morty Corb * Bass
Jack Sperling * Drums


As a general rule, any album from the early 1960s that says "Coral" and "Pete Fountain" on the cover is worth listening to, over and over again. Pete Fountain's Music from Dixie is no exception, proof of which is that several cuts from this album have been re-released many times on 'Greatest Hits' albums.

From the opening 'Bye Bye Bill Bailey' we know it's going to be a swinging time--the band sounds relaxed, comfortable, and ready to play. Fans of the raw energy of the old Pete Fountain/Al Hirt sides of the mid-1950s might wish this set wasn't mellower in comparison, but these twelve standards give us a different feel--instead of that youthful exuberance, we get the more polished, professional work the band was doing nightly at Pete Fountain's French Quarter Inn.

Charles Teagarden (brother of the more famous, trombone playing Jack) plays an excellent New Orleans style lead trumpet when called upon (as in 'High Society') but we've certainly moved to the model Pete was use for most of his career: a less boisterous trumpet, allowing his clarinet to take center stage. The same approach was used by Benny Goodman, Artie Shaw, and Edmond Hall in their small groups--trumpeters, even when they had the lead, were kept more mellow--often playing lead lines muted, or underlining melodies played by the clarinetists. Truth be told, Pete stayed closer to the earlier New Orleans model than most of the others--he really gives Charley the lead, without mute, while weaving his harmonies and countermelodies in true polyphonic style. In many ways Pete was unparalleled in this quintessentially New Orleans function of clarinetistry--his lines, whether closely harmonizing or in soaring obligato, were some of the finest and most diverse ever captured on recording. Because Pete has this extended band (a full New Orleans contingent), this album can alternate between intimate ballad material to uptempo street beats and swing--sometimes shifting back and forth between those poles in the same tunes.

'Darkness on the Delta' from this album is one of my favorite renditions for the beautiful interplay between Fountain and Stan Wrightsman's piano comping. Also for smaller combo, Pete's version of 'Shine' is a real treat, for the reason that so many of his Goodman quartet inspired covers are: he makes the tune his own, resisting the temptation of playing at break neck speed. Here, and many other places, Pete demonstrates a principle of importance to any jazz clarinetist: more phrasing, more character, and more attention to groove will yield a far better result than turning a tune into 'Jazz Kroepsch' with a polka beat (we've all heard that, haven't we?) Pete was sometimes criticized by clarinetist's with less competent technique for being 'too flashy' during his career, but reengaging his actual work shows otherwise -- he rarely took extreme tempos, more frequently crafting beautiful vibrant up tempo choruses.

Pete's version of 'Chlo-e' is of very different character than Goodman's lilting big band chart. The Fountain ensemble takes a full verse before the chorus, and plays in a deep, relaxed ballad manner. Really the diversity of moods on the album us exceptional, and an indication of why his nightclub shows were so successful.

'Struttin' with some Barbeque' for the full band is another highlight--one of Pete's earlier recordings of the classic Armstrong tune. 'Milenberg Joys' shows how well old standards can be updated--a listener would be forgiven for thinking it was a relatively new tune for 1963, and it sounds pretty well timeless even now. The whole album comes to a satisfying conclusion with 'Hallelujah', which is exactly what I want to say now that this music is available once again, in downloadable reissue.

Music from Dixie captures the mature Fountain ensemble and concept--a format he would maintain for a significant portion of his career. Some of the earlier Coral albums are notable for their sheer excitement and freshness. This one is more measured, but it's a solid, professional outing of interest that never lets the listener down.


 

Eric Seddon's Hot Club * CD Release Party at The Bop Stop in Cleveland * Thursday August 16th

Just about a year ago, Gabe Pollack gave our band the unprecedented opportunity to play six concerts of New Orleans style jazz over a twelve week period at the BOP STOP -- arguably the best listening room for jazz in Cleveland. Three weeks from tonight, we're going to return there to celebrate our live CD pulled from those evenings--Eric Seddon's Hot Club: Bootlegs from the Bop Stop. 

I'd like to repay Gabe's faith in us with a packed house this August 16th. Tickets are only $12, and can be purchased here. 

In addition to hearing material from the new album, you'll be treated to real NOLA style hot jazz from my clarinet,  George Foley on the Bop Stop's Steinway piano, Kevin T. Richards on guitar, Gene Epstein on bass, and Bill Fuller on drums. The new CD will also be available for purchase! 

"Seddon, who has a large tone and extroverted style on clarinet...dominates the music, playing with infectious spirit and creativity within the classic format. His songs, which include a tribute to the late Acker Bilk ("Goodbye Bowler Hat"), are natural fits for New Orleans jazz bands..." 

--Scott Yanow, The Syncopated Times

Eric Seddon's Hot Club [photo: Bill Laufer]

Pete Fountain * New Orleans to Los Angeles * Southland Records (S-LP 215) * 1956

Side One 

1. Farewell Blues
2. At the Jazz Band Ball
3. March of the Bob Cats
4. Jazz Me Blues


Side Two (*)
1. Cherry
2. Struttin' With Some Bar-B-Q
3. Home
4. Song of the Wanderer


Pete Fountain - clarinet
Al Hirt - trumpet
Eddie Miller - tenor Sax
Ray Bauduc - drums
Abe Lincoln - trombone
Morty Corb - bass
Stan Wrightsman - piano

(*) Pete Fountain And His Three Coins

Pete Fountain - clarinet
Roy Zimmerman - piano
Phil Darios - string bass/tuba
Johnny Edwards - drums

This is a relatively obscure, yet important record for Pete Fountain fans. Side One features his work in 1956 with Al Hirt's band. The four tracks recorded here by Southland Records (a local New Orleans label) were recycled six years later by Coral Records for the Pete Fountain/Al Hirt Bourbon Street album. There are significant differences, however. Anyone listening carefully to the Coral record can discern an edit to Abe Lincoln's opening trombone break in 'Farewell Blues.' The Southland original reveals that there were in fact three original breaks--an extra ten seconds of music that Coral cut for some unknown reason. The Coral edit is very puzzling, as the LP they ultimately released wasn't anywhere near full. Another difference, to my ears, is the quality of the reproductions. The Southland disc is mellower and deeper sounding--the Coral a bit high in treble and more shrill. This might just be a reflection of my copies and turntable set-up, but audiophiles will want to check the Southland recording out.

The four numbers themselves, especially the tunes dating all the way back to the Original Dixieland Jazz Band and the New Orleans Rhythm Kings -- 'Farewell Blues', 'At the Jazz Band Ball', and 'Jazz Me Blues' -- are simply among the finest versions of these tunes on record. Al Hirt is in great form, blasting but with tonal depth, and carving lines that seem both contemporary and firmly planted in the New Orleans tradition. Pete was the perfect compliment to him, with his smooth refreshing clarinet sound and graceful lines. Abe Lincoln and Eddie Miller solo strongly, and most importantly, no one steps on anyone else's line. This is New Orleans style done at an exceptional level, and we can only imagine what a super-group like this might have accomplished if they'd wanted to systematically record the repertoire together (like the Dukes of Dixieland of that era were doing).

The flip side of this interesting LP features relatively rare recordings of Pete, which Dr. Edmond Souchon's liner notes declare to be the first by Fountain as a leader. I have been told (by those who know better than I could) that these recordings were made prior to Pete Fountain's exclusive deal with Leblanc clarinets--and to that end, even the cover photo seems to depict a Selmer in his hands. I'm not sure how many other recordings feature Pete on a Selmer, but some Fountain aficionado's say they prefer his work pre-Leblanc. For whatever it's worth, Pete told me that he loved the sound of Selmers, but the keywork bothered him--he preferred the sturdier keys of a Leblanc.

'Cherry', 'Struttin' with some Bar-B-Q', and 'Home' are all essential recordings for Fountain fans--typically beautiful in sound and execution. 'Song of the Wanderer',  however, might be the biggest surprise, as it features Pete on Tenor Saxophone! His style on the cut is that of a fledgling Eddie Miller or Bud Freeman, and his soloing very much in the New Orleans style, devoid of any modern jazz influence. His control of the instrument and his tone are good, and his intonation solid, so either he'd spent quite a bit of time with the instrument, or had a natural talent for the sax. It's interesting to think what he would have done on tenor, had he continued. My guess is that he missed the extended range of the clarinet. I'm undoubtedly biased, but I really think of the woodwinds the clarinet is king in New Orleans style. This number is very interesting to hear, though, if only to see the scope of Pete's talent.

All in all, an important and enjoyable album from Pete's early years.

    

New Logos for Eric Seddon's Hot Club

Emphasizing our New Orleans roots, we've officially updated our band logo as of today:

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Pete Fountain * "On Tour" * Coral Records (CRL 757357) * 1961

Side 1

1. Hindustan
2. New Orleans
3. Mississippi Mud
4. San Antonio Rose
5. Manhattan
6. Isle Of Capri

Side 2

1. Swanee River Rag
2. Indiana
3. Sentimental Journey
4. I Lost My Sugar In Salt Lake City
5. Moonlight In Vermont
6. Chicago

Pete Fountain, clarinet 
Jack Sperling, drums
Morty Corb, bass
Stan Wrightsman, piano


Though it's not one of my favorites, this album falls chronologically into what I consider Pete Fountain's golden era of small combo recordings for Coral Records. Like Pete Fountain's New Orleans (1959) and Pete Fountain's French Quarter (released in the same year as this, 1961), 'On Tour' features Pete's Los Angeles based colleagues: Jack Sperling on drums, Morty Corb on bass, and Stan Wrightsman on piano. Contrasting the earlier albums' programs, which evoked Pete's hometown, each standard selected  for 'On Tour' is named for a different locale--perhaps as a reminder that if you couldn't make it to Bourbon Street, perhaps Pete might make it to you.

Listening to the opening track, we're reminded how young stereo technology was in 1961, as the recording engineer has a little fun towards the end of Pete's 'Hindustan' solo. He puts Pete's three note motif first on one channel, then on the next during Morty Corb's bass solo, switching Jack Sperling's drums a couple of times as well, apparently hinting at the 'touring' program of the album. Two years later, Coral recording engineers would use the antiphonal channels more effectively with Pete's I Love Paris album. It's use here in 'Hindustan' comes off as a little too cute--gratuitous rather than enjoyable. Fortunately, it was a one-time gimmick, and doesn't haunt the entire album.

In the liner notes, Bud Dant, Pete's longtime collaborator and Coral A&R man, hinted that they'd put more work into polishing this album than others, explaining that they used four sessions (in contrast to the single session for Pete Fountain's New Orleans). Apparently, because these were all head arrangements, they felt a need to refine them a bit. I'm not sure if that helped the reception of the album at the time--perhaps critics and public were looking for something very clear and clean--but unfortunately, to my ear at least, that extra time and expense resulted in an album that sounds more scripted and far less spontaneous. The grooves are just a little on the cautious side, sounding a bit measured and stiff on tunes like 'Chicago' and 'Isle of Capri.'

That aside, there is still plenty of great playing on this album. It's nice to hear Pete on some numbers he didn't ordinarily record. 'Manhattan' and 'Moonlight in Vermont' are presented with the patented Fountain sound and phrasing. 'San Antonio Rose' gives a hint of Pete's interest in Country and Western (his father's favorite genre), which he would revisit throughout his career. For fans of Pete's up tempo work, there is plenty of crisp, tight, driving soloing on 'Hindustan', 'Swanee River Rag', and 'Indiana'. So this is a very good, solid album from an important era of Pete's work. But perhaps, just as his heart was at home in New Orleans, so too, if only coincidentally, with the albums. 'On Tour' simply sounds a bit less inspired than the other, NOLA themed records. For those wanting to hear an example of Pete's playing in a looser, more free wheeling environment in 1961, I recommend Live in Santa Monica which features brilliant playing by the same group of Sperling, Corb, Wrightsman, (adding Godfrey Hirsch on vibes).  It would be interesting to know whether 'On Tour' and the Santa Monica concert were recorded during the same trip west for Pete. If so, they really demonstrate the difference between the group's studio and live work at the time. Either way, they are an interesting contrast, and both are worth having in your collection.     

Pete Fountain Mardi Gras Medallion
(Eric Seddon Collection)