Broadway To Bourbon Street - Guest Star Records

Broadway To Bourbon Street

The Original New Orleans Sound

1963 Guest Star Records GS 1451 Stereo / G 1451 Mono

Guest Star is a budget record line. Side one features Pete Fountain, side two is Pee Wee Russel and Buck Clayton.

Side One
1. Shine
2. Sidewalks Of New York
3. Hindustan
4. Till We Meet Again

Side Two
1. When The Saints Go Marching In
2. Diamonds And Pearls
3. Dukes Blues

Liner Notes:

Broadway To Bourbon Street, The Original New Orleans Sound

It is seldom that a jazz artist achieves the fame and popularity in the commercial world of music as Pete Fountain has in his rise to fame. Not only has he become a big name, but he is consistent and holds a place on the upper levels of established talent.
Starting in New Orleans, then to the Lawrence Welk Show and from there, a star in his own right. Pete is a great talent and he deserves it all.

We are most fortunate in acquiring these performances of Pete Fountain and doubly so since these are performances from the time he was playing the pure New Orleans jazz.

As you listen, you will hear a tone and quality surpassed by no other artist of equal caliber. A great talent performing great music is our offering to you.

The Basin Street Six playing Strictly Dixie - Mercury Records

The Basin Street Six playing Strictly Dixie

with Pete Fountain and George Girard

1957 Mercury Records MG 20151 High Fidelity (issued in Mono Only)

Side One
1. Panama
2. Sunday
3. Hindustan
4. I Can't Give You Anything But Love
5. Melancholy Rhapsody
6. My Inspiration

Side Two
1. That's A Plenty
2. Tin Roof Blues
3. Muskrat Ramble
4. Farewell Blues
5. When It's Sleepy Time Down South
6. Basin Street Stomp

Liner Notes:

Strictly Dixie - The Basin Street Six featuring Pete Fountain and George Girard

Recorded in Chicago, IL, September 19, 1951 Originally released in 1957, these liner notes were added to copies pressed in the 1960's.)

The Basin Street Six:
George Girard trumpet
Joe Rotis trombone
Pete Fountain clarinet
Roy Zimmerman piano
Bunny Franks bass
Charlie Duke drums

It was rather ironic when Pete Fountain walked off with the Down Beat International Jazz Critics' poll as new star for 1960, because the goateed clarinetist has been a professional musician of stature among the cognoscenti for over a decade. As evidenced by this album, the greatness was always there. For here we have the Fountain clarinet recorded around the mid-Fifties with the late George Girard and the Basin Street Six. Proof that Fountain was great even in the early years is found in these grooves, wherein leader Girard and sideman Fountain share almost equally in the solo portions.

And, typically, it's the drive and enthusiasm that catapulted Fountain internationally in 1960. The same can be said of his early clarinet. Even in the ensemble portions of this record, you'll find Fountain the standout, despite the fact that he leaves the high-register pyrotechnics for other reed contemporaries and just blows with the Dixieland group.

Fountain, on this record, seems to be extremely pleased with the repertoire and well he should be, for it's the heart of Bourbon St. standards. Too, there's a fluid quality in the whole performance which indicates the hours and years the Basin Street Six worked together.

Though Fountain made it big when Lawrence Welk surprised the music world by hiring this swinging clarinet on a steady basis, it's very easy to see why Fountain had made his mark with the knowing long before the bubbling maestro inked him to a contract.

The Kings of New Orleans - Design Records

The Kings of New Orleans

1965 Design Records SDLP-213 Stereo / DLP-213 Mono

Side One
1. Sidewalks of New York (Pete Fountain)
2. Jazz Me Blues (Pete Fountain)
3. Royal Garden Blues (Eddie Condon)
4. Indiana (Eddie Condon)
5. The Blues (Jack Teagarden)

Side Two
1. Mighty Lak' A Rose (Jack Teagarden)
2. On the Sunny Side of the Street (Pee Wee Hunt)
3. Lazy Bones (Pee Wee Hunt)
4. Slightly Groovy (Earl Bostic)
5. Bostic Boogie Woogie (Earl Bostic)

Liner Notes:

Performers:
Pete Fountain
Jack Teagarden
Eddie Condon
Earl Bostic
Pee Wee Hunt

Pickwick International owned a slew of budget labels, including Design Records, Bravo, International Award, Hurrah, and Grand Prix. By 1965, Bravo had been discontinued, but International Award, Design, Hurrah, and Grand Prix were all going strong. Upon closer inspection, part of the reason all three had such a large catalog was that Pickwick was often issuing the exact same album on the different labels, but with different covers and attributed to different artists! Many of the albums listed in the Design Records discography met that fate. Of course, if the artists, like Pete Fountain were well known, the names were consistent from label to label, but for those generic bands, orchestras, and singers, they may be Norman Roye today and Merlin tomorrow.

Credit: Design Album Discography, Part 2: DLP mono and SDLP stereo series (1965-1970)
By Mike Callahan, David Edwards, and Patrice Eyries
http://www.bsnpubs.com/pickwick/design200.html

The Very Best of Al Hirt and Pete Fountain - MGM Records

The Very Best of Al Hirt and Pete Fountain

A Rare Recorded Appearance Together!

1964 MGM Records SE 4216 Stereo / E 4216 Mono

Side One
1. Washington And Lee Swing
2. I'm Goin' Some
3. Jazz Me Blues
4. Night And Day
5. South Rampart Street Parade
6. Sugar (That Sugar Baby 0' Mine)

Side two
1. Tin Roof Blues
2. Royal Garden Blues
3. Panama
4. Blue (And Broken-hearted)
5. The Original Dixieland One Step
6. Wolverine Blues

Liner Notes:

The Very Best of Al Hirt and Pete Fountain
A Rare Recorded Appearance Together!

Director of Engineering: Val Valentin
Reissue of Verve V-1028

Here are the two bearded wonders of Dixieland jazz together for a rare and rousing recorded appearance. And that automatically qualifies the program as The Very Best of Al Hirt and Pete Fountain.

For both Hirt and Fountain, born and bred in New Orleans, are true giants of traditional jazz. They have played in countless bands and groups, and, for a period, were together in a swinging band that rocked New Orleans right down to the waterfront.

Now each is a star in his own right. Al Hirt has built a coast-to-coast reputation as a monumental trumpet player, both in size and in the music he plays. His range is apparently limitless and his showmanship is legendary. He has quickly become a favorite on TV, where his appearances either with his group or as a trumpet soloist, are greeted with wild enthusiasm on both sides of the camera.

Pete Fountain grew up in a musical family and has been a jazz clarinetist since his early teens. He gained national attention as the smooth-toned clarinetist in the Lawrence Welk band during 1957 and 1958. After his national reputation was secure, Pete built his own group and holds forth in New Orleans as one of the prime tourist attractions.

Both Al and Pete have had best-selling records, top-flight TV exposure, coast-to-coast travel with quality appearances and in quality locations. Each is a master of his instrument.

Listen to Al blow on Night and Day, and you'll hear why he's held in such awe by trumpet players the country over. Listen to Pete play on Tin Roof Blues and hear why his style and sound have made him a favorite everywhere. As a bonus, listen closely to Washington And Lee Swing, and you'll hear Pete in one of his rare recorded appearances on tenor saxophone!

Accompanying Al and Pete are a fine bunch of musicians. Bob Havens plays trombone, Roy Zimmerman handles piano, Bob Coquille is on bass, and Paul Edwards plays drums. All the flash and the fire and the verve that make Al Hirt the Big Man On Trumpet, and Pete Fountain the New Leader on Clarinet are present on this program of Blockbustin' Dixie.

Notes by AVERY FINCH

DIXIELAND Live Performace in New Orleans - Camden Records

DIXIELAND

Live Performace in New Orleans

1962 Camden Records CAS-727(e) Stereo / CA-727

Side One
1. When the Saints Go Marching In
2. High Society
3. Farewell Blues
4. Darktown Strutters' Ball
5. Ballin' the Jack

Side Two
1. 'Way Down Yonder in New Orleans
2. Muskrat Ramble
3. 12th Street Rag
4. Tin Roof Blues
5. Won't You Come Home, Bill Bailey

Liner Notes:

Pete Fountain and Other All-Star Dixielanders
A&R Coordinator: Ethel Gabriel

Authentic Dixie by the "Stylists Who Made the Style"

Jazz may have come up the river from New Orleans, as the musical bromide has it, but lots of it remained behind, too, and is still flourishing there. Even though jazz, and especially the Dixieland style of jazz, has fallen into the musical melting pots of Chicago, Kansas City, St. Louis, San Francisco and New York, New Orleans has remained the daddy of 'em all.

There's something about New Orleans that keeps its music and its musicians continually vigorous and vital, and the city has remained a potent jumping-off point for happy musical adventures. This, despite the changes in form and pattern that have been taking place in the over all jazz scene through the past couple of decades. Also, New Orleans has continued to be one of the most fertile cities in the country for bringing new musicians to the fore. It is no accident that men like Pete Fountain and Tony Almerico have blossomed after exposure in New Orleans.

Although many words have been written about New Orleans' contribution to America's musical history, few have been able to capture the essence as well as an actual performance. This album is such a performance - and what a performance. "Live - from New Orleans" should be enough of a catch phrase to intrigue any musical buff. But there's more to this album than that. For here we have the stylists who made the style. Fore-most among them, perhaps, is Pete Fountain who has done so much to spread the Dixieland gospel around the country in the past few years. A clarinetist who can stand with the all-time greats, he has the mellow and lyrical tone that has become identified with the New Orleans clarinet style. And there is Tony Almerico, a trumpeter-singer who has upheld the New Orleans tradition for many years.

Working along with Pete Fountain and Tony Almerico are such Dixieland luminaries as trumpeter George Girard, trombonist Jack Delaney, clarinetist Harry Shields, tenor sax man Lester Bouchon, pianist Roy Zimmerman, and many others of equal stature.

There is a line in the popular New Orleans' song Basin Street which says that it's the place where old friends meet. You'll meet most of them here, playing away to their delight as well as yours.

MIKE GROSS Music Editor, Variety

Dixieland At Its Best - Camden Records

Dixieland At Its Best!

1964 Camden Records CAS-838 Stereo / CA-838 Mono

Side One
1. Original Dixieland One-Step - George Girard And His New Orleans Five
2. Some Of These Days - Bourbon Street All-Star Dixielanders
3. Milenberg Joys - Tony Almerico's Dixieland All-Stars
4. With You Anywhere You Are - Bourbon Street All-Star Dixielanders
5. Do You Know What It Means To Miss New Orleans - George Girard And His New Orleans Five

Side Two
1. Da-Da Strain - George Girard And His New Orleans Five
2. Someday You'll Be Sorry - Tony Almerico's Dixieland All-Stars (Jack Delaney, Vocal)
3. I'm Confessing That I Love You - Bourbon Street All-Star Dixielanders
4. When You're Smiling - Tony Almerico's Dixieland All-Stars (Tony Almerico, Vocal)
5. Sweethearts On Parade - George Girard And His New Orleans Five


Liner Notes:

Dixieland At Its Best featuring Pete Fountain, George Girard, Tony Almerico and other greats

Memorable Performances by Great Musicians

You'd be surprised how much we know about you! - simply from the fact that you're looking at this album. In the first place, you're on a diet! - a diet of jazz that is, with a menu calling for a healthy portion of Dixieland. Second, you're the kind of person who likes to discover the good things. And third, you like to treat yourself to the best. Your curiosity has been aroused because we've called this album DIXIELAND AT ITS BEST. Does that seem like a large order? Well, what have we got to offer?

For a starter - just the greatest exponents of Dixieland in the world today, that's all: men like Pete Fountain, George Girard, Tony Almerico, Jack Delaney, Lester Bouchon, Roy Zimmerman, Harry Shields, Bob Discom and a host of other front runners. And what else? There's the music itself, of course - ten sturdy Dixieland favorites played with immense gusto, with soul, with inspired brilliance. These tunes are the kind that will live as long as jazz lives, which is like forever. But the thing that really clinches the case for this set as DIXIELAND AT ITS BEST is the fact that it was all recorded "live" - on location! Is there anything better than "live" re-cording, especially for jazz, to bring out the wonderful spontaneity of the music? Where was it recorded? Where else but in New Orleans, birthplace of jazz, home of the blues and of Dixieland. It was one of the greatest Dixieland recording sessions of all time, and took place in the Parisian Room on Royal Street, just a stone's throw from historic Basin Street. Produced were masterpiece performances in the realm of jazz.

From that session you'll find in this album not one band, but three - each with something different to offer. There's a big double Dixieland band made up of the top men of the leading groups in the Crescent City - the Bourbon Street All-Star Dixielanders. Probably never again will there be such a gathering of greats. You'll agree there is something new in Dixieland when you hear the sound of this big band which kicks off with two trumpets, two trombones, two clarinets, two guitars, even two drums! What a driving beat, what a lift! The New Orleans tunes are augmented by I'm Confessing That I Love You, which sort of became "New Orleans" because of Louis Armstrong's famous version of it. On every selection the order of horn solos is the same: Girard, Shields, Delaney, Bouchon, Almerico, Fountain and Pecora. The crowd at the session joins in with enthusiastic back-beat clapping and cheers for the soloists as they finish some truly great choruses. One of the wonderful things about Dixieland is that it's the kind of music that involves the listener as well as the player. There's nothing cerebral about it; it's all heart, true folk art that invites everyone to participate.

Now, besides the big band, there's a middle-size band headed by Tony Almerico. (This band also features the sensational Pete Fountain wailing on clarinet.) The Almerico group rolls in some beauties that include an original by Louis Armstrong, Some-day You'll Be Sorry, and another one that Louis made famous, When You're Smiling. (Remember Louis' great record of Smiling?) Last but not least, brimming with infectious invention and excitement is the small, more or less standard Dixieland band led by George Girard - standard, that is, in everything but inspiration, for the boys never played so great as they're heard on four selections here including, again, two associated with the town's greatest jazz-playing son, Louis Armstrong.

Yes, there's variety a-plenty. You'll find the album packed with enough Dixieland goodies to keep the. house warm all winter. What else can we say except ... listen! It's all here - the most venerable of jazz forms, the liveliest, the most agreeable .... Dlxrieland AT ITS BEST. So let your hair down and beat off : a-one, a-two, a-one, a-two . . .

Jazz In New Orleans - George Brunis / Pete Fountain - Southland Records

Jazz In New Orleans - George Brunis / Pete Fountain

1954 Southland Records S-LP 210 Stereo / LP-210 Mono

Side One - George Brunis And His Dixieland All-Stars
1. Bugle Rag Call
2. Closer Walk With Thee
3. Alice Blue Gown
4. Down In Jungle Town

Side Two - Pete Fountain And His Three Coins
1. Cherry
2. Struttin' With Bar-B-Q
3. Home
4. Song Of The Wanderer

Liner Notes:

George Brunis And His Dixieland All-Stars (Side One)

George Brunis Trombone
Teddy Buckner Trumpet
Matty Matlock Clarinet
Roy Zimmerman Piano
Johnny Edwards Drums
Chink Martin Tuba-String Bass
Sister Elizabeth Eustis Vocal On Closer Walk

Two great interlocking names in New Orleans Jazz are Mares and Brunies. There is always something important happening when members of these two great Jazz families get together. When George Brunies first went to Chicago to join the Rhythm Kings, he borrowed the fare from Mr. Joseph Mares. (Mr. Mares, Senior, that is - not the Southland impresario.) With the great Dixieland trumpet star, Paul Mares, George produced the great early classics of Jazz.

Little Joe Mares didn't grow up fast enough, and Paul and fabulous Rappolo passed on too soon for Joe to realize his early ambition of getting this greatest of all front lines together on waxings of his own. He didn't let this opportunity slip by, though, to capture the Brunies sound in that unique Southland manner that seems to serve up each new hot platter in incomparable home style. So this new Mares-Brunies merger, (Joe recorded the late Abbie Brunies very successfully, you'll recall ...) was destined for success the instant George walked into the studio - but what came out exceeded all expectations!

Brunies is easily at the top of his form, matching the peaks of his NORK and Spanier Ragtime days. Ted Buckner and the very professional Matty Matlock on trumpet and clarinet, respectively, fill out a polished front line for George - and display some outstanding virtuosity, especially on "Down in Jungle Town".

It took this session, too, to give the youthful septuagenarian Chink Martin an opportunity to separate the men from the boys on bass and tuba. Reunited on wax with George Brunies for the first time in 30 years, Chink steps out and claims his place as the most accomplished and tasteful of all bass players anywhere. Johnny Edwards, drumming is intelligent and occasionally exciting - and that exceptional piano man, Roy Zimmerman, working freely for a change, without having to worry about covering for inferior musicians, is down to earth and solid as we've rarely heard him.

Vocal enthusiasts will find something new to be excited about in Sister Elizabeth Eustis, who's authentic New Orleans spiritual style graces the lyrics of "Just a Closer Walk with Thee" - and Chink on that tuba in the background - oh, man!

- Al Rose
-------------------------------------------------------------------------

Pete Fountain And His Three Coins (Side Two)

Pete Fountain Clarinet-Tenor Sax
Roy Zimmerman Piano
Johnny Edwards Drums
Phil Darois Bass

Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax.

Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.

Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate that Eddie Miller and Bud Freeman had better look to their laurels.

Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete may strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight" little outfit.

Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.

The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.

Altogether, it is a happy combination, which is even more enhanced by one the best recording job that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain to stash away one of the others, for you can mark it down as a "Collectors' Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World.

- DR. Edmond Souchon

New Orleans to Los Angeles - Southland Records

New Orleans to Los Angeles

Pete Fountain and His Three Coins

An Earlier Version of the Front Cover (Below)

A Later Version of the Front Cover (Below)

1954 Southland Records S-LP 215 Stereo / LP-215 Mono
There are at least 4 different covers of this LP

Side One
Al Hirt's Jazz Band
Al Hirt - trumpet
Eddie Miller - Tenor Sax
Ray Bauduc - drums
Abe Lincoln - trombone
Morty Corb - bass
Stan Wrightsman - piano

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

Side Two
Pete Fountain And His Three Coins
Pete Fountain - clarinet
Roy Zimmerman - piano
Phil Darios - string bass/tuba
Johnny Edwards - drums

playing....
1. Cherry
2. Struttin' With Some Bar-B-Q
3. Home
4. Song of the Wanders

Liner Notes:

NEW ORLEANS TO LOS ANGELES

Side One

Each Fall heralds an event on the West Coast that's become known as the "World Series" of Jazz, and right-fully so, for upon opening the printed program one is immediately impressed by the "Big League" calibre of the artists appearing at these DIXIELAND JUBILEE's presented by Jazz Impresario's Frank Bull and Gene Norman.

The evening of September 29th, 1956 will be long-remembered as one of the greatest of these annual events, and also as the second time that the New Orleans Jazz shepherd Joe Mares herded eminent Crescent City musicians westward, this time bringing to the huge stage of the Shrine Auditorium the incomparable PETE FOUNTAIN, and the astounding AL HIRT; Two show-stoppers, indeed!

The Jazz World has for some time recognized that in PETE FOUNTAIN is entwined an old tradition, his clarinet-work having been rated by many critics as of times superior to the immortal Irving "FAZ" Fazola. Perhaps superior recording equipment influences such statements, but rather than compare, I would prefer to analyze, for like the music itself Pete is a "home-grown" product, raised in the environment and tradition that so bountifully flows from his mind (by way of his reed) for all of us to enjoy.

This same evening offered West Coast fans the opportunity to hear in person AL HIRT the trumpet-man who has consistently thrilled them by way of his Coast-to-Coast CBS broadcasts and Southland records. Like his clarinet-partner of the evening, Al's playing captured the audience in a manner most deserved such a stirring artist.

Surrounding these two New Orleans contemporaries for the evening was an all-star group befitting the Dixieland Jubilee, and it's no wonder that after their spectacular Saturday nite performance, Joe Mares was possessed with the idea of documenting these men, so with the idea of documenting these men, so much so that they waited only until Monday to gather in the recording studio.

This all-star group included two other native New Orleans musicians, EDDIE MILLER on Tenor Sax, and RAY BAUDUC at the drums, both perhaps best known for their work with old Bob Crosby "Bobcats". Completing the "front line" the sensational trombone of ABE LINCOLN. On bass is heard MORTY CORB, one of the finest rhythm men on the West Coast today, as we might also say of STAN WRIGHTSMAN who's keyboard artistry completes the lineup.

The age-old, ever-new FAREWELL BLUES opens this session and is highlighted by the spirited trombone of Abe Lincoln, and the "infectious rhythms" of Ray Bauduc. Then too, there's solos by everyone, outstanding being the combination of Al Hirt's trumpet and Eddie Miller's tenor sax. Ever since its introduction by the Original Dixieland Jazz Band, AT THE JAZZ BAND BALL has been a "must" whenever jazzmen get together for a session, this one being no exception. Here again everyone is heard in solos, Pete Fountain and Al Hirt contributing immensely to the HOT feeling of the moment. Brief, but memorable, is the tremendous bass solo by Morty Corb. When ex-Bobcats get together you can count on hearing one of the selections they enjoyed playing so much. MARCH OF THE BOBCATS, as played here, seems to have that added something that transpires this performance above all others. So much could be said of this one track alone, of how Lincoln shines like never before, how Wrightsman's keyboard becomes a showcase of fingerwork, of Fountain's solo extraordinary, of Hirt's inspiring lead and torrid solo, of Bauduc's parade beat, and Miller's sax being heard as never before. We could go on and on, and I know you'll be playing this one over and over. Pete Fountain thrills us next with his most interpretative playing on the JAZZ ME BLUES, which also spotlights tremendous solos by Miller, Lincolns Wrightsman. A rollicking and soft-spoken ensemble soon reaches its climax which ends our listening pleasure for this session.

Words can never describe the lasting impression made on the West Coast by the creative and imaginative clarinet-work of Pete Fountain, or that of the torrid trumpet-work of Al Hirt. Although the tumultuous roar of the crowds of several nights previous had died down and the quietude of the recording studio was no compare, preserved and presented here IS "New Orleans to Los Angeles" Jazz.

ART ANDERSON
Oct. 7, 1956

**Mr. Anderson is a well-known San Diego record collector and jazz authority. His "Jazz Informal" radio programs over KFMB have attracted wide attention.

---------------------------------------------------------

PETE FOUNTAIN AND HIS THREE COINS

Side Two

Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax.

Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.

Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate that Eddie Miller and Bud Freeman had better look to their laurels.

Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete may strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight" little outfit.

Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.

The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.

Altogether, it is a happy combination, which is even more enhanced by one the best recording job that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain to stash away one of the others, for you can mark it down as a "Collectors' Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World.

DR. EDMOND SOUCHON

**Dr. Souchon is an eminent New Orleans physician Jazz scholar, and musician.
Cover design by JOHNNY DONNELS Picture by CHARLES VAGABOND

Pete Fountain And The Kings Of Dixieland - Crown Records

Pete Fountain And The Kings Of Dixieland

1964 Crown Records CST-537 Stereo / CLP-5537 Mono

Side One
1. Bugle Call Rag
2. Somebody Stole My Gal
3. Careless Love
4. Wait Till The Sun Shines Nellie
5. Thunder & Blazes

Side Two
1. Shine On Harvest Moon
2. Lassa's Trombone
3. Washington Post March
4. My Old Kentucky Home
5. Dixieland Blues

Liner Notes:

Through the formative years of his musical training, Pete Fountain performed with several sensational bands. One such band was the Junior Dixieland Band which performed in the famous Parisian Room - often performing for legendary jazz men. It was a heady time of life and Pete was savoring every moment. A few years later Pete joined Phil Zito's International Dixieland Express. They were playing the El Morocco on the street. He also played with Sonny Bonano and the Kings of Dixieland where this material originated. The music on this album is good, the recordings are well done. However the quality of the record vinyl is poor, sounding worn out, even though my copy was new when I listened to it. Surface noise was high, the records had no protective liner jacket. Still I enjoyed listening to material.

About Crown Records

Crown Records was a budget label for the Bahari Brothers, who ran Modern and RPM labels. It started in 1957 and continued for about a dozen years, earning itself the reputation of the king of the junk record labels. Aside from endlessly reissuing the legitimate hits that were on Modern and RPM, and the B.B. King material, what Crown had to offer was musical junk food on plastic plates. The covers and the vinyl were cheaply made, fell apart almost instantly, and the records sounded worn out right out of the package. Crown was much too cheap to issue special promotional copies; in fact, it's doubtful they ever gave away promotional copies, special labels or not.

The one nod to class was that early stereo albums were often issued in red vinyl. The stereo numbering did not correspond to the mono numbering for about the first 250 albums.

The first Crown label was black with silver print. This was replaced in the early 1960s by a black label with the logo in block multi-color letters. By the mid-1960s, the same design was used, but the label had changed to grey with black printing, discarding the colors in the logo. Later in the 1960s, a logo with stylized "CROWN" lettering and a three-pointed crown above was used, again in grey with black print. In the very late 1960s, the label became black with white print, with "CROWN RECORDS" curving around the top of the label and a stylized script logo beneath it.

Pete Fountain & The Village Scramblers - Crown Records

Pete Fountain & The Village Scramblers

1964 Crown Records CST-478 Stereo / CLP-5478 Mono

Side One
1. South Rampart Street Perade
2. Bill Bailey
3. Washington And Lee Swing
4. Dixieland One Stop
5. There's A Tavern In The Town

Side Two
1. Jazz Me Blues
2. When The Saints Go Marchin In
3. Charleston Get Out
4. Battle Hymn Of The Republic
5. My Wild Irish Rose

Liner Notes:

Pete Fountain's other album on Crown is Pete Fountain And The Kings Of Dixieland
1964 Crown Records CST-537 Stereo / CLP-5537 Mono

About Crown Records

Crown Records was a budget label for the Bahari Brothers, who ran Modern and RPM labels. It started in 1957 and continued for about a dozen years, earning itself the reputation of the king of the junk record labels. Aside from endlessly reissuing the legitimate hits that were on Modern and RPM, and the B.B. King material, what Crown had to offer was musical junk food on plastic plates. The covers and the vinyl were cheaply made, fell apart almost instantly, and the records sounded worn out right out of the package. Crown was much too cheap to issue special promotional copies; in fact, it's doubtful they ever gave away promotional copies, special labels or not.

The one nod to class was that early stereo albums were often issued in red vinyl. The stereo numbering did not correspond to the mono numbering for about the first 250 albums.

The first Crown label was black with silver print. This was replaced in the early 1960s by a black label with the logo in block multi-color letters. By the mid-1960s, the same design was used, but the label had changed to grey with black printing, discarding the colors in the logo. Later in the 1960s, a logo with stylized "CROWN" lettering and a three-pointed crown above was used, again in grey with black print. In the very late 1960s, the label became black with white print, with "CROWN RECORDS" curving around the top of the label and a stylized script logo beneath it.

Courtesy of Crown Album Discography By David Edwards and Mike Callahan
http://www.bsnpubs.com/modern/crown.html

The Sunsetters - Wyncote Records

The Sunsetters

1964 Wyncote Records SW-9112 Stereo / W-9112 Mono

Side 1
1. Jazz Me Blues
2. Bugle Call Rag
3. South RamparStreet Parade
4. Sensation Rag
5. Yuppa Tuppa - The Sunsetters

Side 2
1. Miss Daisy Delight
2. A Farewell
3. Scherzo
4. Sonata Allegro
5. One Blind Mouse

Sound quality is fair on most of the tracks, yet Yuppa Tuppa sounds very good. A good representation of Pete's early years.

Liner Notes:

THE SUNSETTERS

Pete Fountain is one of the most fantastic clarinetists to hit the recording scene. Wyncote is proud to present this fine clarinet virtuoso. Pete and the great combo, The Sunsetters, come up with some startling sides that are a must for every Pete Fountain fan.

Blockbustin' Dixie! - Verve Records

Blockbustin' Dixie!

1961 Verve V-1028 Mono

Note, This is a 1961 Reissue of 1957 release Verve MGV 1012 Al Hirt entitled "Swinging Dixie From Dan's Pier 600".

Side 1
1. Washington And Lee Swing
2. I'm Goin' Home
3. Jazz Me Blues
4. Night and Day
5. South Rampart Street Parade
6. Sugar (That Sugar Baby O' Mine)

Side 2
1. Tin Roof Blues
2. Royal Garden Blues
3. Panama
4. Blue (And Broken-Hearted)
5. The Original Dixieland One Step
6. Wolverine Blues

Liner Notes:

BLOCKBUSTIN' DIXIE - AL HURT PETE FOUNTAIN

Here's Blockbustin' Dixie, in every sense of the word. And it's played by two bearded giants of Dixieland - trumpeter Al Hirt and clarinetist Pete Fountain. It marks the first and only time this fabulous pair of New Orleans sons has appeared together on records. It also marks one of the rare recorded appearances by clarinet wizard Pete Fountain playing tenor sax (you'll be hearing his tenor on Washington and Lee Swing).

AI Hirt is known from coast to coast as the phenomenal trumpeter whose range is apparently limitless, and whose showmanship is legendary. His appearances on The Dinah Shore TV Show and his best-selling records have made him the most sought after trumpeter in Dixieland. His amazing style and technique can be heard to advantage on Night And Day.

Pete Fountain is nearly everyone's favorite clarinet player. His liquid sound and his crisp beard were Dixieland high spots on the Lawrence Welk TV show when Pete was with the band. Listen to his sweet and lowdown style on the classic Tin Roof Blues.

For this once-in-a-lifetime session, Al and Pete surrounded themselves with a cast of hardy New Orleans style sidemen: Bob Havens, trombone; Roy Zimmerman, piano; Bob Coquille, bass; and Paul Edwards, drums.

All of the flash and fire that make Hirt the Big Man on Trumpet and Fountain the Leader on Clarinet come roaring out of New Orleans in a session with pace and excitement and solid swing - truly Blockbustin' Dixie!

Their only Recorded Appearance Together!