Benefit Night for Monk Hazel - GHB Records

Benefit Night for Monk Hazel
featuring Pete Fountain

1996 GHB Records BCD-1421143 2 CD Set

Disc 1
1. With You Where You Are
2. South Rampart Street Parade
3. Tin Roof Blues
4. Bugle Call Rag
5. Basin St. Blues
6. Bill Bailey
7. All Of Me
8. Farewell Blues
9. Indiana
10. Sister Kate
11. Some Of These Days
12. Struttin' With Some Barbecue

Disc 2
1. Panama Rag
2. Milneberg Joys
3. Woodchooper's Ball
4. High Society
5. Blues
6. Dinah
7. Shine
8. That's A Plenty
9. None Of My Jelly Roll
10. When The Saints Go Marching In
11. No Place Like Home

Available for purchase on CD, New and Used at Amazon

Liner Notes:

Benefit Night For Monk Hazel
Parisian Room May 7, 1956
Master Of Ceremonies Joe Mares

Composite Personnel:
Trumpets: Tony Almerico, George Girard, Bugle Sam Dekemel, Sharkey Bonano, Mike Lala
Clarinets: Pete Fountain, Raymond Burke, Harry Sheilds
Trombones: Jack Delaney, Santo Pecora, Joe Rotis
Piano: Roy Zimmerman
Banjo And Guitar: Frank Federico
Basses: Joe Loyacano, Chink Martin
Drums: Johnny Castaing, Johnny Edwards

Production: Barry Martyn

The announcement in the New Orleans States-Item was simple enough:
A two hour jazz concert will be held this coming Monday, May 7, 1956 at the Parisian Room on Royal Street for the benefit of ailing jazz drummer Arthur "Monk" Hazel. The music is slated to begin at 8:30 pm.

Sounds fairly basic - not necessarily an unusual event. Benefits are not uncommon in show business - but this was New Orleans and it happened at the peak of the so called "Jazz Revival" in the Crescent City. The second generation of New Orleans dixieland jazz musicians were working steady and performing extremely well. There was a wealth of talent available in the city and a jazz tradition in full swing.

New Orleans jazz musicians are a somewhat contradictory group. They have always been a little different in their attitudes and temperaments from players in other parts of the country. On one hand they can behave defensively and jealously, always suspecting someone may be trying to take their job. At the same time, in spite of any insecurities they may have, they tend to regard themselves as a "family" and, in many ways, behave that way among themselves. Quick to squabble among themselves but even quicker to join hands against any perceived outside threats. The Musicians Union reflects this family attitude. Louisiana is a right-to-work state and there is no really logical reason for players to join a union - but the local has always been strong and the vast majority of the musicians belong. It's primary function is to set hours and pay scales and discipline erring members but its real reason for existing for many years so far has been its role as a unifying sense of identity for the members.

As the music business grew through the '20s and '30s and musicians left town to tour or play in other parts of the country, invariably they would tend to stick together whenever possible. They got along with everyone usually but, if there were two or more Orleanians in a band, they would hang out together. The Bob Crosby band was a good example of this.

So - a benefit for one of their own who was having problems could become - and in this instance did become - a truly great jazz program. Monk Hazel was an excellent jazz drummer - one of the best - and he had played with most of the jazz musicians in town through the years. He kept excellent time - backed the players well - and he had a strong understanding of the role of the drums in a jazz band. In addition, he could double on his old, beat-up silver mellophone. It was a little added extra lagniappe that audiences liked and it added another solo voice to the traditional six piece band. Sharkey Bonano always felt he played best when Monk was backing him. Other leaders - Santo Pecora, Tony Parenti, Johnny Wiggs, George Girard and others - preferred him to other drummers. He was virtually the "house" drummer of Joe Mares' Southland record label, with roots that went back to the great jazz players and New Orleans bands of the '20s, Hazel was truly a musicians' drummer.

Monk has a friendly, pleasant attitude and personality - he was cooperative on the bandstand - and he was well - liked by his cohorts. Monk had a tendency to imbibe spirits more than most and there were scores of stories related among musicians of his antics while under the influence. Funny though they were, few would bear repeating in print. without exception though, every musician was impressed with the fact that, no matter how many "sheets to the wind" Monk may have had, he always played superbly. Unfortunately Monk's thirst habits contributed to his failing health. He had been playing with Sharkey Bonano at the Famous Door on Bourbon Street when he fell ill and the benefit followed shortly after that. Fortunately he recovered and resumed playing until his death in April, 1968.

The well attended benefit was the idea of Joe Mares (Paul Mares of NORK fame's younger brother and record producer) and Joe Gemelli (a men's clothing store owner an avid jazz fan). Tony Almerico offered his Parisian Room on Royal Street for the show and recruited the musicians. Mares acted as Master of Ceremonies. A copy of the ticket to the concert is illustrated on the back cover of this CD.

It would take an involved listing of players to identify each player on each tune but, as announced, the concert kicked off at 8:30 in the evening with Tony Almerico (t), Pete Fountain (cl), Jack Delaney (tb), Roy Zimmerman (p), Joe Loyacano (b), and Johnny Castaing (d). As the concert proceeded other players would replace the starters. If you'll listen closely you'll hear Raymond Burke and Harry Shields in the clarinet chair; Santo Pecora and Joe Rotis with their trombones; George Girard and Sharkey Bonano and Mike Lala on trumpets; banjoist Frank Federico and bassist Chick Martin. As the concert progressed, Johnny Edwards replaced Castaing on drums.

This concert gives an exciting sample of the great jazz being played in New Orleans in the 1950s. This was about the same period when Eddie Condon and his cohorts were dominating the scene in New York and most of the country. Although it might be tempting to make comparisons between them and the New Orleans players, it would have to be too subjective to have any value. Both groups contained most of the best dixieland players of the time and all were sincere in what they were doing - yet there were differences that reflected backgrounds and experience that made subtle changes in their approach to the music. Listening to the jazz players in this concert will illustrate the talent and enthusiasm and excitement New Orleans jazz men projected - especially when they were playing for one of their own.

- Plato Smith 1996

Ticket:
Benefit Dance for Monk Hazel
Sponsored by Funds for Monk Hazel Committee
Monday, May 7, 1956 8:30 P.M.
Parisian Room, 116 Royal St.
Music by Dixieland All Stars
Donation $100

Pete Fountain and Al Hirt: New Orleans Jazz - GHB Records

Pete Fountain and Al Hirt: New Orleans Jazz

Booklet Below - Notice the two handsome musicians!

2003 GHB Records BCD-115

CD Track Listing:
Pete Fountain's Dixieland All Stars
1. Farewell Blues
2. Jazz Me Blues
3. March Of The Bobcats
4. At The Jazz Band Ball

Al Hirt, trumpet
Pete Fountain, clarinet
Eddie Miller, tenor sax
Abe Lincoln, trombone
Stan Wrightsman, piano
Morty Corb, string bass
Ray Bauduc, drums
Recd: Los Angeles, October 1, 1956

Pete Fountain And His Three Coins
5. Cherry
6. Song Of The Wanderer
7. Home
8. Struttin' With Some Barbecue

Pete Fountain, clarinet & tenor sax
Roy Zimmerman, piano
Phil Darios, string bass
Johnny Edwards, drums
Recd: New Orleans, December 9, 1954

Al Hirt And His New Orleans Jazz Band
9. After You've Gone
10. Over The Waves
11. While We Danced At The Mardi Gras
12. Breeze
13. Toot Toot Toosie Goodbye
14. Careless Love
15. It's A Sin To Tell A Lie
16. Floatin' Down To Cotton Town

Al Hirt, trumpet
Harry Shields, clarinet
Bob Havens, trombone
Roy Zimmerman, piano
Joe Capraro, drums
Phil Darios, string bass
Paul Edwards, drums
Lil Pickens, vocal
Bobby Castigliola, trombone
Rita St. Claire, vocal
Recd: New Orleans, December 29, 1955

Liner Notes:

Pete Fountain and Al Hirt

THE MEN

Despite playing together often, and between them representing the essence of old style New Orleans music to middle America for over a decade, Pete Fountain and Al Hirt only recorded together twice - both times in California!

The first four tracks on this CD were made during a trip the two of them made to the Dixieland Jubilee, and our cover picture was taken on stage during the event.

The titular leader, Peter Dewey Fountain, was born in New Orleans on July 3rd, 1930. He started playing clarinet as a child on doctor's advice, because of respiratory problems. The year after this session, he began a three year stint with The Lawrence Welk Orchestra, before opening his own club in New Orleans in 1959. His clarinet sound is limpid and pure, somewhat reminiscent of Irving Fazola.

Alois Maxwell Hirt, born in New Orleans on November 7th, 1922, spent much of his early career on the road with both Tommy and Jimmy Dorsey, before returning to his home town in the late 1940s. From the mid fifties, he seems only to have played Dixieland music. Curiously, he told Downbeat magazine in 1964 that he didn't consider himself a jazz player. His playing demonstrates the complete instrumental control you'd expect from a musician with such extensive early big band experience.

Ray Bauduc, born in New Orleans on June 18th, 1906, is most famous for having held down the drum chair with the hugely successful Bob Crosby Bobcats from 1935 until 1942. He acknowledged the influence of the Crescent City's great black drummers, particularly Baby Dodds.

Another former Bobcat, Edward Raymond Miller, born in New Orleans June, 23rd, 1911, played tenor and clarinet, although he's heard only on saxophone here. For my taste, he supplies many of the best musical moments on the session.

Morty Corb, the bass player, was a Los Angeles session musician. Jazz fans remember him for a session he recorded with the later Kid Ory band, on which he played a bowed solo on "Blues for Jimmy," based on the sextet from the opera "Lucia." Apparently the regular bass player, Ed "Montudi" Garland, had demanded more money, so Ory sent for Corb.

Another L.A. session musician was trombonist Abe Lincoln. Abe appeared on a recording in a band led by Bobby Hackett, featuring two trombones - the other one was Jack Teagarden! George Buck described him as a "monster on the trombone," and I couldn't improve on that.

Harry Shields, born in New Orleans on June 30th, 1899, was of course the brother of the now famous Larry Shields, clarinetist with Original Dixieland Jazz Band. Harry played clarinet with Johnny Wiggs, Sharkey Bonano, and Tom Brown.

During later years, he often appeared at Preservation Hall, sometimes deputizing for George Lewis.

Pianist Roy Zimmerman played on several recordings for Joe Mares' Southland label, and is featured on twelve of the sixteen tracks. Never less than good, he sounds most at ease in the relatively intimate surroundings of the quartet tracks, where he occasionally reveals flashes of the influence of Teddy Wilson.

Bob Havens, the trombonist, was born in Quincy, Illinois, on May 3rd, 1930. Apparently, he passed through New Orleans with a touring band, liked the place, and decided to stay.

THE MUSIC

No surprises in the repertoire department - all of the tunes on this CD are familiar Dixieland favorites, with the exception of "Floatin' Down To Cotton Town." On the Dixieland All Stars session "Farewell Blues" had been recorded in the twenties by both the New Orleans Rhythm Kings and King Olivers' Dixie Syncopators. This version, starting with a lip busting intro by Abe Lincoln, goes on to feature a surprisingly gentle exchange between Al Hirt playing with Harmon mute, and Eddie Miller. "Jazz Me Blues" and "At the Jazz Band Ball" are mainly associated with the great lyrical cornetist, Bix Beiderbecke, and "March of the Bobcats" (actually the last strain of "Maryland My Maryland") was featured by the Bob Crosby aggregation, so Ray Bauduc and Eddie Miller must have felt right at home. The music on these four tracks is pretty much "in your face" but very well played and executed, and existing.

The four tracks by Pete Fountain on his Three Coins offer a complete contrast. Three of the four are at relaxed medium tempos,and Pete Fountain does "Song of the Wanderer" on tenor saxophone, with surprisingly muscular phrasing; I wish he's done more on saxophone. Roy Zimmerman contributes some nice moments.

With the session under Al Hirt's leadership, we're back in flag waving country, but here are a lot of musical moments. Overall, the band seems to have had the routine of playing a quiet "down" chorus before the out chorus, rather often the fashion of the Kid Ory band. Notice how Hid uses the four bar breaks at the end of his "After You've Gone" solo to modulate from Bb to Eb for the vocal, and how Harry Shields uses his four bar break to modulate back again.

The modulations for the vocals are similarly seamless on several other tracks. "Over the Waves" features a tasteful duet by Al Hirt, again on Harmon mute, and the straight muted Bob Havens. "Careless Love" (my favorite track) is very restrained, goes through several key changes, and has a tasteful guitar solo by Joe Capraro. But every listener will find his (or her) own favorite things to enjoy!

- Mick Burns

Do You Know What It Means To Miss New Orleans? - GHB Records

Do You Know What It Means To Miss New Orleans?

1991 GHB Records BCD-300

CD Listing:
1. Do You Know What It Means To Miss New Orleans
2. Up The Lazy River
3. Ain't She Sweet
4. Blues For Ziggy
5. Alice Blue Gown
6. Basin Street Blues
7. Honeysuckle Rose
8. When The Saints Go Marching In

Special Thanks To Owen Bradley. Bobby Bradley
Recorded By Smokey Lawrence
Cover Design: Robert Nowicki / New Orleans

Pete Fountain. Clarinet, Leader
Merle Koch, Piano
Bunky Jones. Bass
V.J. Bourgeois. Drums

Liner Notes:

"Do You Know What It Means To Miss New Orleans?"

To the casual observer, the clarinet might initially appear to be subservient to the glamorous and gleaming trumpets and trombones. On closer analysis, the little woodwind assumes a far more important role in the "front line" of a traditional jazz band. Like File' powder spices a gumbo, the clarinet is capable of bringing out the true flavor of the music.

The clarinet's varying tonal and emotional qualities can weave wonderful effects. In its lower register the horn exudes a mellow warmth; it's middle range produces sensuous slurs and swooping explorations. Climbing into it's higher frequencies, it can soar eloquently to a lofty brilliance. Inexplicably, the city of New Orleans has produced an impressive succession of great jazz clarinetists since the turn of the century when Lorenzo Tio's E Flat clarinet cut through the street noise as the Excelsior Brass Band marched in the Vieux Carre.

Pete Fountain is the latest, and by far, the most successful, of the lengthy dynasty of New Orleans clarinet titans. He has held the scepter for many years and his popularity in New Orleans is tremendous - he could easily run for mayor - and be elected! I remember the first time I heard Pete Fountain. It was on a 78 RPM recording sent to me back in 1949 by the late Dr. Edmond Soutane II, a well known New Orleans physician and socialite who loved his city's music. The recording was "Cooking' With Atomized General Gas" - a radio commercial for the local gas company. The music was played by a group of young musicians called the Basin Street Six and featured a sixteen-year-old clarinetist, Pierre Dewey LaFountaine, Jr. The youngster demonstrated a flowing authoritative style that reflected a strong Irving Fazola influence. It was evident that this very talented youth was destined to achieve fame and fortune. say, is history.

This music was recorded by sound engineer Smokey Lawrence on July 22, 1983 before a small audience at Michele's Silver Stope, Merle Koch's saloon in Nevada's historic mining town, Virginia City. Working inventively within the intimacy of the quartet format, the Pete Fountain horn is heard at its maximum potential. The late Merle Koch, whose relationship with Pete Fountain dates back to 1959, provides an ideal piano accompaniment. Although Koch was unable to read music, every solo here is a gem. He had a unique style that gracefully blended the diverse textures of Bob Zurke & Jelly Roll Morton.

By devoting ten minutes each to four very familiar numbers, Pete Fountain's flowing inventiveness meets the challenge as he creates personal and highly expressive versions of these very familiar tunes. His elaborate exploration of Fats Waller's well known Honeysuckle Rose reveals harmonic and rhythmic variations that even Fats had never envisioned. When the Saints Go Marching In, certainly the most overworked of the traditional "war horse" tunes, gallops at a fresh pace, and establishes a new standard by which the gospel inspired song can be judged. We have heard Up A Lazy River umpteen times, but the elusive beauty of Sidney Arodin's swinging little melody has never been so impressively showcased. While Basin Street ran approximately northeast to southwest through the streets of old Storyville, Pete Fountain's version approaches the Spencer Williams standard from every possible direction and unleashes a varying sequence of moods and modes from funky to fervent - including a brief "Rhapsody in Blue" reference.

Drawing from a wide spectrum of musical hues, Pete shifts adroitly from the warm titian tone that enervates Ain't She Sweet? to a brooding cerulean mood on Blues For Ziggy, a variation on the venerable "Tin Roof Blues." (the moniker, "Ziggy," by the way, is Pete's nickname for his beautiful gold keyed clarinet.) Merle Koch's name, unfortunately, has fallen through the cracks of jazz history. Throughout his career, he maintained a low profile. He disdained publicity and never pursued fame or personal gain. He was completely dedicated to his music and preferred the slower pace and intimacy of his little saloon to the bright lights of more popular venues. Merle's death in 1987 was almost unnoticed and rippled few waves of despair in the jazz world. this CD is part of an obscure legacy that, hopefully, will eventually emerge to properly illuminate Merle Koch's name.

Richard "Bunky" Jones brilliantly handles the bass role and "V.J." Bourgeois, who died last year, plays very supportive drums. These veterans of the big band era are vital adjuncts to the quartet's pulse. Jones spent thirteen years at the Silver Stope playing beside Marle Koch and his many guest artists who appeared there. Jones' taunt manner of shaping a bass line adds a surging vitality most evident on Up A Lazy River and Honeysuckle Rose.

"V.J.'s" admirably simplistic approach to the music keeps an effusive (never obtrusive) rock-steady beat. Listen to the delicacy of his rhythmic counterpoint to Fountain's melodic lead on In My Sweet Little Alice Blue Gown, and his empathetic foundation for the swinging solos by Fountain and Koch on Up A Lazy River. I doubt very much if Pete Fountain Knows What It Means To Miss New Orleans - he seldom leaves his hometown. When he fulfills the important jazz engagements that occasionally take him to many parts of the world, he carries with him the vibrant spirit of the Crescent City that emerges joyously from the jewelled bell of his horn. Fortunately, for all of us, Smokey Lawrence was on hand when Pete Fountain visited his friend Merle Koch in Virginia City back in 1983; as a result, "Ziggy's" glorious sounds have been faithfully captured for release on this CD.

- Floyd Levin

Pete Fountain At Piper's Opera House - Jazzology Records

Pete Fountain At Piper's Opera House

Full 12 Page Booklet Below

1993 Jazzology Records JCD-217

CD Listing
1. Dialogue Intro
2. Jazz Me Blues
3. Closer Walk With Thee
4. St. James' Infirmary
5. Shine
6. Sophisticated Lady
7. Lover
8. Wolverine Blues
9. Do You Know What It Means To Miss New Orleans
10. My Blue Heaven
11. South Rampart Street Parade

Liner Notes:

Pete Fountain Clarinet
John Thomas Cornet
Eddie Miller Tenor Saxaphone
Bob Havens Trombone
Merle Koch Piano
Bunky Jones String Bass
Nick Fatool Drums

Recorded: Virginia City, Nevada 6-26-83 by Smokey Lawrence

Pete Fountain At Piper's Opera House

This is the spirited music that was heard on June 26 and 27, 1983 in Virginia City, Nevada during the celebration of the 100th Anniversary of Piper's Opera House.

To commemorate the occasion, jazz was played for the only time in the historic edifice where Richard Jose, Lillian Russell, Enrico Caruso, Cornelia Otis Skinner, Harry Houdini, and John Barrymore performed.

With such stellar jazzmen as Pete Fountain, Eddie Miller, Bob Havens, and Nick Fatool together in one band, we have the basic elements from which musicians' fantasies are constructed. In short, this was a dream line-up. Happily, engineer Smokey Lawrence had the astute foresight to record these wonderful moments.

The title and texture of the opener, "Jazz Me Blues," vividly sets the scene for this program of vibrant jazz. It accurately exemplifies the true New Orleans attitude and doctrine, "Laissez les bon temps rouller" - let the good times roll!

Pete Fountain, weaving his way through several expressive choruses, provides a swinging response to the query, "Do You Know What It Means to Miss New Orleans?" This, rightfully, is Pete signature song. His nimble exploration of the delicate melody's every possible nuance aurally defines the articulate fluency of New Orleans style clarinet playing. John Thomas' impassioned vocal and tender cornet solo compatibly reflect Fountain's tasteful approach.

"Just a Closer Walk With Thee," with Pete out in front with rhythm backing, gradually soars from the tune's reverent hymnal roots to a lofty swinging romp. He concludes with a haunting echo note that probably does not exist on the horn.

With every graceful gliss, Bob Havens reveals his unabashed devotion to the great Jack Teagarden. "Lover," and "St. James Infirmary" are reverent salutes to his mentor's inventiveness. Trombonists will deny that some of these lip-trill figures are possible! Throughout the program, Havens' flowing solos and stirring tailgate slurs create an impetus that propels the band and arouses the audience.

Eddie Miller - the name epitomizes Jazz Saxophone. When he died in 1991, Eddie left a vast musical void that seemingly will never be filled. His beautifully developed solos are always logical extensions of a tune's roots. They bloom seamlessly with majestic splendor and substantiate his pantheonic status on "Wolverine Blues." Miller's "Sophisticated Lady," clothed in his warm buttery tone, is probably the definitive version of Ellington's perfect ballad. When Eddie digs in on two choruses of "My Blue Heaven," the 66 year old tune is enhanced with youthful vigor.

Pianist Merle Koch's very impressive talents, coupled with a reclusive life style, have created the legendary aura that accompanieshis name. Eschewing appearances at major venues, he was content to play the piano in his Silver Stope Saloon in Silver City, a small Nevada mining town, where Pete Fountain recorded another highly acclaimed CD with Koch - GHB-BCD-300.

On the frolicking epic, "Wolverine Blues" he explores a facet of Morton's skills with a pile-driving solo. Merle's rompin' and stompin' on "Shine" are rhythmically enhanced by Richard "Bunky" Jones' exhilarating walking beat that authenticates the bassist's musical credentials.

Jones is among the legion of unsung jazz heroes. He worked with Merle Koch for a dozen years in Silver City until Merle died in 1987. During that stint, "Bunky" backed-up many leading jazzmen who eagerly accepted Koch's frequent invitations to play at the unique venue.

Cornetist-vocalist John Thomas is another member of the unsung clan. He also appeared with Koch for three years in Silver City. Thomas can be heard on several recordings made at the Silver Stope Saloon and on some sessions taped during the Manassas Jazz Festivals. Thomas plays a lyrical horn and adds brilliance to the ensembles. His brash vocal and the very moving cornet cadenza on "St. James Infirmary" are indications of his vast talents. He now lives in Jacksonville, Florida.

Nick Fatool's presence is felt throughout the program. With every well placed cymbal crash, with every appropriate press roll, he constantly underscores, yet never overshadows the music. His savory entire auditorium, and in some areas reached nearly twenty feet in depth. Two walls, the west and north sides, were rebuilt, and the stage floor, which had buckled badly, was repaired. Canvas was stretched and hung on the ceiling and all the walls of the auditorium, replacing the torn and tattered original muslin. The beautiful proscenium was repainted in the original design and colors and the curtains were restored.

In 1973, a grand reopening of the theatre was held as Mrs. Driggs, from then until 1985, brought the first chamber music to Piper's and the Comstock. Concerts were held on Sunday afternoons throughout the summer, and such internationally-known musicians as Aaron Rosand, John DeLancie, Kathleen Lenski, and Vladimir Sokoloff brought the finest in chamber music and solo concerts to the theatre. In addition, world premiers of several of Efrem Zimbalist Sr.'s last works were performed, Hal Holbrook appeared in his world-renowned Mark Twain Tonight in 1981, and a three-day Piper's Jazz Festival, produced by Merle Koch was staged, with such greats as Pete Fountain in performance.

Louise Zimmer Driggs is still the current owner of Piper's and in the spring of 1986 her eldest daughter, Carol Piper Marshall, assumed the mantle of Managing Director. Conceived and executed in the summer of 1986 was the idea of daily shows for the first time ever in Piper's history. The half-hour shows, twice daily, were original in nature, and incorporated dramatic and musical material actually performed at Piper's one hundred years ago. One of these was The Show Girl.

Ford's Theatre in Washington, D.C. and Piper's Opera House in Virginia City, Nevada, are the richest archives of Victorian music and drama, worth preserving for all history.

- Floyd Levin

The Best of Pete Fountain - Decca Records

The Best of Pete Fountain

Full 8 Page Booklet Below

1996 Decca Records GRD-665

CD Listing
1. While We Danced At The Mardi Gras
2. A Closer Walk
3. Columbus Stockade Blues
4. Do You Know What It Means To Miss New Orleans?
5. Facination Medley: Fascination/Basin Street Blues/Tin Roof Blues/Way Down Yonder In New Orleans
6. China Boy (Go Sleep)
7. Bye Bye Bill Bailey
8. Lazy River
9. Yes Indeed
10. High Society
11. Stranger On The Shore
12. Over The Waves
13. Oh, Lady Be Good
14. You're Nobody 'Till Somebody Loves You
15. My Blue Heaven
16. Put On Your Old Grey Bonnet
17. For Pete's Sake
18. When The Saints Come Marching In March
19. St. Louis Blues
20. When My Baby Smiles At Me
21. Shrimp Boats
22. Indiana (Back Home In Indiana)

Available for purchase on CD, New and Used at Amazon

Liner Notes:
Original release 1972 on Verve/Decca an MCA release

Though clarinetist Pete Fountain has long been a fixture on the New Orleans jazz scene, his greatest notoriety came from his 1957-1959 nationally televised appearances with the Lawrence Welk orchestra leading a small group playing traditional jazz. Fountain, a Benny Goodman disciple who plays the old standards with indefatigable fervor, is a fixture on Mardi Gras day in New Orleans, leading the early morning parade down St. Charles Avenue with his "Half Fast" marching club. As Fountain walks, he plays the numbers on this record that comprise his standard repertoire--"While We Danced at the Mardi Gras," "Do You Know What It Means to Miss New Orleans," "Basin Street Blues," "Way Down Yonder in New Orleans," "When the Saints Come Marching in March" and "St. Louis Blues." --John Swenson

The Basin Street Six - The Complete Circle Recordings - GHB Records

The Basin Street Six

The Complete Circle Recordings

Featuring Pete Fountain

Below is the booklet:

1994 GHB Records BCD-103

CD Track Listing
1. Margie (Vocal Girard)
2. Farewell Blues
3. That's A Plenty #1 * *
4. That's A Plenty #2
5. Up A Lazy River
6. Jazz Me Blues
7. I'm Going Home
8. High Society
9. South Rampart Street Parade
10. Mahogany Hall Stomp * *
11. World's Waiting For The Sunrise * *
12. Waiting For The Robert E. Lee
** Previously Unissued

Liner Notes:

Personnel:
George Girard (trumpet)
Pete Fountain (clarinet, #4 tenor sax)
Joe Rotis (trombone)
Roy Zimmerman (piano)
Bunny Franks (string bass)
Charlie Duke (drums)

Recorded New Orleans
Tracks 1-9: Aug 2, 1950
Tracks 10 - 12: Nov. 3, 1950

Pitch rect.: David Sager
Production: Barry Martyn

The Basin Street Six

The story of the Basin Street Six begins with a football game, or to be more precise a series of football games. In the 1940's the white kids in New Orleans were crazy over football, but pocket money was scarce making tickets hard to come by, so the youngsters would go to any lengths to gain entry. For young musicians it was slightly easier, they would group together as a band and dress up in the colours of any local or visiting team, this way they would get into the football stadiums as the 'official' band. This sometimes provided a real service as not all visiting teams could afford to bring along their own band. It was during a football game between Warren Easton High School and Bogalusa that a young clarinet player named Pierre Dewey LaFontaine, Jr. (Pete Fountain) playing in the large and impressive Warren Easton School Band was amazed to see that Bogalusa arrived with only a three piece band. At half-time, being unable to contain himself any longer, Pete introduced himself to the rival trio, Frank Assunto (trumpet) Freddie Assunto (trombone) and Willie Perkins (drums), and he was invited to join the group for the second half of the game. Of course the 'Bogalusa Band' were just a bunch of local New Orleans kids working the 'visiting jazz band' pastime.

From this first meeting Pete became good friends with the Assunto's and he would go to their home on General Taylor and Freret Streets a couple of times a week to practice and make plans for bigger ventures and to eventually forming a real band.

The four youngsters concentrated on working the football games assisted by a friend Benny Christiana whose father had a pick-up truck. By decorating the truck with coloured crepe paper the same as the school colours the band would start about a block away and when they reached the Stadium they would be waved inside as the 'official' band. Of course the Stadium guards were aware of what was going on but turned a blind eye as the appearance of a band at a foot-ball game always attracted a lot of attention.

This still un-named band played the same three or four tunes all the time, but they all listened to a lot of jazz records. Papa Jac Assunto, Frank and Freddie's dad, worked at Werlein's Music Store on Canal Street at the time, and he brought home records for the lads to listen to and learn from.

So it came to pass one summer Saturday afternoon in 1946, sitting around a picnic table in City Park, the quartet decided to quit the football games racket and start out in the jazz business properly. The lads called themselves the Basin Street Four, named after the Basin Street Blues, a popular tune associated with the old city of New Orleans. The band learned more songs and went out in search of their first gig, Pete Fountain was just sixteen years old when the Basin Street Four opened at the Carnival Lounge on Broad Street. The job lasted just two weeks, Friday and Saturday nights for just ten dollars each for both nights, but the manager of the place was just not selling enough beer to keep the band employed.

A few days later a new residency was found at The Hideaway on St. Bernard, a better class place, the band having their name written in chalk on the Jax Beer Blackboard out front. The band played three nights a week, Wednesday, Friday and Saturday, the place was packed every night for the two months the gig last-ed. Tommy Baldaras another youngster from the Assunto's neighborhood joined the group on guitar, the band became the Basin Street Five.

The big night spot at the time was the Parisian Room on Royal Street owned and operated by Joe Gemelli and Tony Almerico, all the guys jammed there on Sunday afternoons and the lads continually asked if they could have a spot to prove they could really play jazz. Eventually the owners gave in only on the condition that the band changed it's name, the Basin Street Five became the Junior Dixie Band. Mixing and playing with older more experienced musicians did nothing but good for the lads, they were soon totally accepted as a part of the Sunday afternoon scene and they were readily included when WWL Radio started broadcasting those jam sessions, first locally and then nationwide through the CBS network, billed as the Dixieland Jamboree.

From these Sunday afternoon sessions mid-week jobs were added and then jobs all over the City. The Horace Heidt talent radio show came to town with auditions held at the New Orleans Recreation Department. The Junior Dixie Band entered the talent show and then began rehearsing in earnest adding two more youngsters to the band, Johnny Bartell on bass and Stanley Mendelson on piano. This new seven piece unit romped through their audition playing 'March of the Bob Cats'. The following week the band were on the radio show and won the first local heat, a week later in Louisville, Kentucky they lost to an all girl group singing cowboy songs, it was back to the Parisian Room and the Sunday afternoon jam sessions.

Shortly after, the Assunto brothers left the band to form their own Dukes of Dixieland and George Girard and Jack Delaney joined the Junior Dixie Band. Originally Jack Delaney played trumpet with the band but learned trombone when George Girard proved how good a trumpet player he was. This revised band picked up a good paying job at Demiano's Dance Hall on Airline Highway.

Eventually the Junior Dixie Band broke up, most of the musicians hankering to play with bigger names, George Girard joined the Jimmy Archey Orchestra, Jack Delaney went with the Sharkey Bonano Band and Pete Fountain took his own group into the Famous Door on Bourbon Street using a young talented Al Hirt on trumpet.

Later Pete joined Phil Zito's International Dixieland Band at the El Morocco, Joe Rotis was on trombone, Emile Christian bass, Roy Zimmerman piano and George Girard returned to New Orleans to play trumpet, Phil Zito was on drums. This band was successful but eventually the crowds dropped off and many clubs even stopped having bands. The El Morocco job folded and the band went to Biloxi, Mississippi to play for two weeks at the Broadwater Beach Hotel. A job came through in New York but by now the guys were ready to return home to New Orleans and Phil Zito hired new musicians to go north.

It was time to form a new band in New Orleans but dixieland in 1950 was no longer popular and the Basin Street Six was created as the greatest unemployed band in the City, with George Girard (trumpet), Joe Rotis (trombone), Pete Fountain (clarinet), Roy Zimmerman (piano), Bunny Franks (string bass) and Charlie Duke (drums). It was George Girard who came up with a regular two nights a week job at L'Enfants on Canal Boulevard. The band had to play dance music mostly. Bill Reed of WWL TV picked up the show as part of his dixieland revival campaign and within three months the Basin Street Six had found their niche as a funny hat band, wearing old Mardi Gras costumes, switching instruments and even dressing up as girls on occasions, a real fun band but still playing good dixieland jazz.

In fact the band was good enough to make their first recording session towards the end of the year for Circle Records. When the TV job closed, L'Enfants returned to having only a dance music policy and late in 1951 the Basin Street Six were again looking for work. Within a week the band opened at Perez's Oasis and then the Silver Slipper Club on Bourbon Street (the same building that housed the Silver Slipper Club became Your Father's Moustache' during the 60's and 70's but now no longer exists as a jazz venue).

Soon they were playing six nights a week all over the City, the dixieland revival was in full swing. Johnny Edwards replaced Charlie Duke on drums, and a second recording session was made this time for Mercury Records. Down Beat carried a story, the band were now living like celebrities. Blaise D'Antoni, president of the Standard Fruit Company, the largest importer of bananas in New Orleans, bought the and under a ninety-nine year contract, he liked the way they clowned and played. All the members of the band signed the contract, part of the deal being that the Standard Fruit Company continued to call the band the Basin Street Six. The band opened on a banana boat bound for Honduras, a two week cruise entertaining Mr. D'Antoni's guests. Everybody had a good time but it could not last and the ninety-nine year contract ended after three months, with everyone parting friends.

Back in New Orleans the Basin Street Six played the intermission set for a Louis Armstrong concert at the Municipal Auditorium, a fitting accolade for the fine little band. A trip to the Blue Note in Chicago was reluctantly made, none of the men wanted to be away from home for long. There were periods of squabbling and it became obvious that there were feelings of discontent among the fellows, they were falling out over everything. In four years the band had always been run as a cooperative unit, no leader, but this had not always been easy as George Girard was really a natural leader with a super strong personality. Upon returning from Chicago George quit the band to form him own group, Connie Jones replaced him for a while, Roy Zimmerman and Pete Fountain left a few weeks later. It was 1954, the Basin Street Six were no more, a chapter complete in the continuing story of New Orleans dixieland jazz.

- Tom Stagg, 1988