Pete Fountain's Half-Fast Walking Club

Pete Fountain's Half-Fast Walking Club
Mardi Gras 2010

Courtesy of the Time-Picayune

Pete Fountain and Tim Laughlin: The Fat Sound - News

Pete Fountain and Tim Laughlin: The Fat Sound
01 May 2010 - by David Kunian of OffBEAT

Once away from the strip malls and family businesses that alternate on Highway 90, the road to the Hollywood Casino in Bay St. Louis, Mississippi winds through the swampy woods until it rises at the back of a parking lot. For a casino, it is a modest one with a hotel on one side and ceilings against which a basketball player might knock his head above the constant "ching-ching" of the slot machines. Past the entrance, there is a clear spot with several cocktail tables facing a stage with a bar directly in front. The audience sits, drinks and listens. The music, although not out of place in this part of the world, seems a little out of place at the Hollywood. This is not where you would think to hear music 50 years old in the 21st Century. Yet, on the first Tuesday and Wednesday of each month, this stage is the only place fans get to hear the twin tandem clarinets of the world famous Pete Fountain and the soon-to-be world famous Tim Laughlin.

Fountain and Laughlin do many of the New Orleans traditional jazz standards, sometimes trading choruses, sometimes playing melodies in unison. There is something special going on here. It is easy to see when Laughlin the Earnest Acolyte and Fountain the Hip Wizard exchange glances and smiles, and when they don’t. Either way, the music weaves in and out almost as if each of them knows what the other is about to do. It goes beyond telepathy and borders on instinct.

The story of Pete Fountain might be well known to the generations that came up when he played in the Dukes of Dixieland or was the featured soloist on The Lawrence Welk Show in the 1960s. Maybe they bought his records "Walking Through New Orleans" or "South Rampart Street Parade." Maybe they remember hearing him on The Tonight Show with Johnny Carson, or going by his club in the French Quarter in the 1960s and 1970s, or the Hilton in the 1980s and 1990s. Some paraded with his infamous Half-Fast Walking Club on Mardi Gras.

Over lunch with Fountain at the Hotel Monteleone, Tim Laughlin confesses, "It was my 17th birthday. My family and I were having dinner at the Hilton. I snuck up to his club and started listening. Actually I talked to his son Jeff, and I said, ‘Do you think I can meet Pete?’ He says, ‘Yeah, come by after the show.’ I ran back down to tell my family, ‘I’m going to meet Pete Fountain.’" Laughlin ran back upstairs and by the time his family followed, he was in Fountain’s office.

Laughlin had grown up listening to his father’s Pete Fountain records, and they had a great effect on him. "That sound," he says. "That’s Pete Fountain. His Mardi Gras record was a great album to play along to. I wore that out." As Laughlin tells this story, Fountain sits to his left and smiles.

"For an entire year, I was too young to get into the club, so they would have a chair outside for me," Laughlin continues. "I would make a reservation like, ‘This is Tim. I’m coming in tonight.’ They’d have a chair outside, and I’d sit and hear the music. The funny thing is that Wimpy, the doorman, would say, ‘Hey, kid, you want something to drink?’ He was thinking I was going to have a coke and..." Pete interrupts, laughing. "He didn’t want a coke. He wanted a beer!" They both laugh. "So he would bring me a beer," Laughlin says. "I used to haunt him every couple weeks. I could have been some loon. Pete always treated me great."

By the time Laughlin met Fountain, he had already been playing clarinet since the age of nine. He’s played with many of the New Orleans greats, including Fountain, the Dukes of Dixieland and Jack Maheu. Recently, his records have been marked with a number of original songs, putting him in the company of Matt Perrine, Rick Trolsen, Evan Christopher and Tom McDermott as people who are adding to the repertoire of New Orleans traditional jazz instead of playing the standards. He is the latest in a long line of white clarinet players that reaches back to Leon Rappolo and moves to Irving Fazola and then to Fountain. Laughlin has been influenced by all those players as well as Benny Goodman, Jack Maheu and cornetist Connie Jones. But the main person that Tim patterns his playing off of is Fountain.

But it’s not just the playing; they share several traits. According to Tom McDermott, who has done gigs and sessions with both, "Tim’s a real people person and Pete is a down-to-earth, regular guy. He’s a regular guy who happens to be world famous."

Connie Jones, who has played with both and has known Fountain since 1950, agrees that both are "very self-effacing and very gracious." Both of them also have a great sense of humor. When talking about what makes Laughlin a good player, Fountain jokes, "He has a wife who likes clarinet players. Like mine." When asked whether he is passing down anything to Tim, Fountain says, laughing, "I hope so. I gave him one of my clarinets."

At the Hollywood Casino, it is evident to the audience that this is not simply another casino act. The band looks like a caricature of a bored Vegas act, but everyone performs like the music matters. Fountain and Laughlin play with a tone that can only come from years of searching and practicing. Fountain’s is a little reedy at times, but still beautiful. Laughlin’s is gorgeous, like a warm shower on a sunny day. It is obvious to band members and observers that Fountain is passing the proverbial torch to Laughlin, but what exactly does that mean? That cliché does not by itself illuminate what is being exchanged between these two musicians. When asked later about it, Fountain says of Laughlin, "He can do it. He can play with anybody. He doesn’t need me."

Laughlin says, "I think the most important thing Pete passed down is the fat sound. That’s the New Orleans sound. Fazola had it. Johnny Dodds had it. Jimmie Noone. That’s what I got from Pete was the fat sound to fill up the horn, the big sound." Fountain adds, "I got it from Fazola. It’s gone from one end to the other."

But, according to Fountain, there is another element to the clarinet besides getting that New Orleans sound. Laughlin says, "He would tell me to get my own sound and listen to other guys." The idea of developing a unique, recognizable sound seems to be the most important piece of wisdom that has passed between the two, and that is something that is discounted in the music world these days. Developing that sound is not easy, though. "It takes a while because the sound pretty much comes from your head," Laughlin says. "You have to hear it before, and it’s kind of a unique thing when you find it."

"He knows it," Fountain says. "He has the sound. No problem there. He’s got that locked up. I don’t have to teach him that." Laughlin agrees. Other than encouraging him to develop a signature sound, "Pete never once gave me advice," Laughlin says. "Never had to," Fountain chimes in. "Nobody gave him advice. I just tell him ‘Don’t drink too much.’" Quickly, Tim replies, laughing, "That’s the only thing where I didn’t listen to him."

Tim also says that he learned from Fountain’s professionalism onstage. "The way he treats the musicians and how he treats the audience," Laughlin says. "I’ll never forget: One time I was at the Hilton, and there was a guy who was talking real loud. Pete did the coolest thing. He took two steps back, and all you heard was this guy talking, ‘Yar yar yar...’ and suddenly everybody is like, ‘Sssshhhhh.’ Then Pete came back to the microphone and everyone applauded. I was like, "Okay, I want to do that some day."

Connie Jones says that Fountain has taught Laughlin "sounds and notes and knowing your role. You know your role and how to play your role. There’s a difference between jazz choruses and playing ensemble choruses. You have a certain role to play in an ensemble and a different role to play in your solos. It’s knowing that, and learning how to do that is the most important part of being a good, successful jazz musician. Tim has learned that very well."

Jones also thinks that Fountain’s support has helped Laughlin. "Tim was able to play at an early age," says Jones, "and I think the thing that Pete gave him was the encouragement to keep going. It’s been a continual learning process, and a good learning process for Tim. Now it’s almost the other way around. Tim is right there when Pete needs him. If Pete needs Tim to take over at a certain place, Tim is available and jumps right in. There is no visible loss of quality."

Even though neither one will say it, there is a small amount of the jazz mystique that passes between the two of them. Tom McDermott puts it like this: "I think there is something more than the notes. Just to talk to people with the experience that guys like Pete or Connie Jones have had, to have been on the stage with Louis Armstrong or to have met Duke Ellington and hear about all the people that these guys have consorted with. The stories-it’s great. It’s like the people you’ve read about come alive when you hear them talk. Pete, he’s been a star for 50 years. And he’s still a rock star around New Orleans."

And he’s still a rock star at the Hollywood Casino. The audience applauds as they recognize the first notes of Fountain’s hit version of "Just a Closer Walk with Thee." At a certain point in time, this was the hippest thing going, and then it wasn’t, and now that doesn’t matter. It’s simply great music, and Laughlin and Fountain are giving it their all. Fountain still has that cool swankiness to him that is a great contrast to Laughlin’s earnest enthusiasm. Fountain moves haltingly back to his stool when he finishes his solo, but he’s still solid. And there is something still absolutely hip about him. He knows what’s good and what’s cool and is confident about it without any ego.

"Just a Closer Walk with Thee" finishes up and the band begins the last song of the set, "When the Saints Go Marching In," of course. Fountain and Laughlin play the chorus, then Fountain steps back, snapping his fingers and smiling. He has played this song a million times and he’s still enjoying it. He’s here, in the moment, and there is nothing phony about this performance at the Hollywood Casino off a back road on the Gulf Coast in Bay St. Louis. He’s enjoying himself, and why not? He’s still here despite a heart attack, a mild stroke and advancing age. He’s still got the music, that fat sound, and a great musician in Tim Laughlin who will make sure that the sound will continue.

"It’s a cool thing to make a living standing next to a legend and playing with him," Laughlin says. "A guy I first heard and didn’t know who he was, but it was that sound. It wasn’t because he was famous. It was because he could play."

Reprint courtesy of OffBEAT Louisiana Music and Culture article by by David Kunian
Pete Fountain and Tim Laughlin photo by Elsa Hahne.

Monk Hazel And His New Orleans Jazz Kings - GHB Records

Monk Hazel And His New Orleans Jazz Kings
featuring Pete Fountain

2009 GHB Records BDC-117

Drummer Monk Hazel is joined on these two sessions, recorded in 1955 and 1957, by the then unknown trumpeter Al Hirt and clarinetist Pete Fountain. The 13 tracks here represent Hazel's full recorded output as a leader and include 5 songs unreleased before.

CD Listing:
1. Panama
2. Of All the Wrongs
3. I Used to Love You
4. Long Way to Tipperary
5. Gypsy Love Song [#] unreleased

Personnel on tracks 1 -5:
Al Hirt - Trumpet
Jack Delaney - Trombone
Pete Fountain - Clarinet
Joe Capraro- Guitar
Roy Zimmerman- Piano
Phil Darois - String Bass
Monk Hazel - Drums - Mellophone
Rita St Claire - Vocal

6. Angry
7. Basin Street Blues
8. Let Me Call You Sweetheart
9. When You're Smiling
10. Ja Da #1 [#] unreleased
11. Ja Da #2 [#] unreleased
12. Kiss Me Again [#] unreleased
13. Sin to Tell a Lie [#] unreleased

Personnel on tracks 6 -13:
Dutch Andrus - Trumpet
Jack Delaney - Trombone
Harry Shields - Clarinet
Roy Zimmerman - Piano
Chink Martin - Bass - Tuba
Monk Hazel - Drums
Jackie Blaine - Vocal

Liner Notes:

Certain types of musicians are born to be legends. People like Buddy Bolden, Bix Beiderbecke, Paul Mares, Leon Roppolo, Larry Shields and Monk Hazel are the stuff that jazz dreams are made of. But of the quintet names above, Little Monk is the only one left on this sphere, still sparking great jazz combinations. Always insufficiently recorded in years gone by in fact his last recording session fronting his own band dates back to December 1928 when he waxed four sides under the name of "Monk Hazel and his Bienville Roof Garden". Monk's work is mainly remembered by those fortunate enough to see him in person here or on his occasional sensational forays into New York, Chicago, or Hollywood.

If you're one of those unfortunates who have been told so many times, "You should have been here last night! Monk Hazel was on the stand" you'll welcome these nine sides, because they're just the way he played the night you missed him. Principally famed as the greatest of Dixieland drummers, Monk is also celebrated for his work on cornet and e-flat valve trombone plus his great mellophone solo's one which you will hear on the tune "It's A Long Way To Tipperary."

You'll be knocked out, nevertheless, by the unique Hazel beat as present herein, occupying the spotlight in the rhythm section that includes not only the tuba work on side two by Chink Martin, Sr. but the string bass of Phil Darois with that fabulous beat which has become identified with music generating in this Crescent City.

On both sessions you hear Roy Zimmerman the veteran New Orleans piano man stressing sustained improvisation in middle and upper register and extracting rich tones from the piano bass. On clarinet side two fresh from the critical acclaim heaped on his melodious horn in all of the jazz periodical, following his first Southland appearance with the Johnny Wiggs Group (S-LP 200), you'll hear Harry Shields even more carefully recorded, and full of the quiet fire that made for him an overnight world-wide reputation. You'll never get his solo on the verse to "Let Me Call You Sweetheart" out of your mind.

On Side One the big tone of Pete Fountain clarinet who reminds one of the late and great Irving Fazola, and it is a rare privilege to be able to present him now surrounded by men of his own caliber in his finest recorded performance. Jack Delaney's fluent trombone (heard on both sides) which has in the past year captured the fancies and hearts of all of New Orleans, alternates flexibly between "Tailgate" and "High Register" in a manner that confounds so many of the older heads here and then tosses in solos full of freshness and facility rivalling Brunis and Teagarden.

The driving trumpet you'll hear on Side One is a rare treat. Al Hirt has been a outstanding "job" musician around New Orleans for many a year. Obviously for no good reason, he's never been recorded with a Dixieland band before. You'll be shocked, when you hear this wonderful horn to realize that a jazzman of this caliber can get lost in any city. Southland apologizes for the whole record industry, but offers Al Hirt here in his highly successful disc debut. On Side Two you hear Dutch Andrus on trumpet, a current start in his own right carries this session along in masterly fashion. Dutch has established himself already as one of New Orleans outstanding jazzmen. He sat regularly with the town's finest, and they love to play with his typically New Orleans lead horn. On Side One you hear the top man in his field today on guitar "Joe Capraro" with his big full tone and stimulated rhythm.

Southland was so impressed with the fine singing of Rita St Claire that we took this opportunity to offer her to you. On Side One you will hear Rita St Claire backed by this exciting Dixieland ensemble in "All The Wrongs You Done To Me" and "It's A Long Way To Tipperary" - you hear this gorgeous voice. She is a natural, her singing is effortless, her pitch true, her tone full and thrilling.

On Side Two you hear the great blues singer Jackie Blaine giving Spencer Williams great blues "Basin Street Blues" a grand treatment.

Joe Mares, Jr.

The Very Best of Pete Fountain - Unlimited Media

The Very Best of Pete Fountain
Unlimited Media

The Very Best of Pete Fountain
Record Label: Unlimited Media
Originally released: 12-08-2008

1. Dobro Moon
2. Margie
3. Going Home
4. Jazz Me Blues
5. South Rampart Street Parade
6. That's a Plenty
7. The World Is Waiting for the Sunrise
8. The Lazy River
9. Bugle Call Rag
10. Farewell Blues
11. High Society
12. When the Saints Go Marching in

Live Performance In New Orleans - Setco Records

Live Performance In New Orleans
Setco Records

Live Performance In New Orleans
Record Label: Setco
Originally released: 01-FEB-2009

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

1. When the Saints Go Marching In
2. High Society
3. Farewell Blues
4. Darktown Strutter's Ball
5. Ballin' the Jack
6. Way Down Yonder In New Orleans
7. Muskrat Ramble
8. 12th Street Rag
9. Tin Roof Blues
10. Won't You Come Home, Bill Bailey

Won't You Come Home, Bill Bailey - Setco Records

Won't You Come Home, Bill Bailey
Setco Records

Won't You Come Home, Bill Bailey
Record Label: Setco
Originally released: 01-FEB-2009

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

1. Won't You Come Home, Bill Bailey
2. High Society
3. 12th Street Rag
4. Ballin' the Jack
5. When the Saints Go Marching In
6. Farewell Blues
7. Darktown Strutter's Ball
8. Muskrat Ramble
9. Tin Roof Blues
10. Way Down Yonder In New Orleans

Pete's Beat - CEMA Special Markets

Pete's Beat
CEMA Special Markets

2008 EMI reissue of 1992 CEMA Special Markets S21-56649

CD Listing
1. When You're Smiling
2. Oh, Lady Be Good
3. 'way Down Yonder In New Orleans
4. Someday Sweetheart
5. Avalon
6. Honeysuckle Rose
7. Rosetta
8. Shine
9. The One I Love (Belongs To Somebody Else)
10. You Can Depend On Me
11. Do You Know What It Means (To Miss New Orleans)
12. Deep Purple

Liner Notes:

A showcase for Pete's clarinet, these recordings should appeal more to fans of the mellow, softer Pete than of his driving New Orleans dixieland style music. No credits listed or liner notes here, pretty much a budget release. It's Pete with a small group of unidentified musicians on the xylophone, guitar, bass and drums. The accompaniment is swinging, crisp, and rather lean, thanks in some measure to the absence of a piano, but none of the supporting musicians measures up to the capabilities of the leader during the solos. Except for two obvious selections , there is nothing to identify this with New Orleans but this is still a very enjoyable small group swing set.

Tradition Runs Deep: Blues, Folk & Jazz - Tradition Records

Tradition Runs Deep: Blues, Folk & Jazz
Various Artists Featuring Pete Fountain

Tradition Runs Deep: Blues, Folk & Jazz
Record Label: Tradition
Originally released: 14-JUL-1998

1. You Got To Move Artist: Mississippi Fred McDowell
2. John Henry Artist: Etta Baker
3. In New Orleans (House Of The Rising Sun) Artist: Leadbelly
4. More Pretty Girls Than One Artist: Woody Guthrie
5. Treat Everybody Right Artist: Big Bill Broonzy
6. Jack O' Diamonds Artist: Odetta
7. Down In The Willow Garden Artist: Kossoy Sisters, Eric Darling
8. Walk On Artist: Sonny Terry, Brownie McGhee
9. See See Rider Artist: Lightnin' Hopkins
10. Balky Mule Blues Artist: Blind Lemon Jefferson
11. I'm Not Rough Artist: Louis Armstrong
12. Oop Bop Sh-Bam Artist: Dizzy Gillespie
13. Cherokee Artist: Charlie Barnet & His Orchestra
14. Bayou Blues Artist: Pete Fountain
15. Bamba Samba Artist: Woody Herman, Charlie Byrd

Dixieland Jazz Fever - X5 Music Group

Dixieland Jazz Fever
Various Artists Featuring Pete Fountain

Dixieland Jazz Fever
Record Label: X5 Music Group
Originally released: 29-04-2008

1. Cherry Pink And Apple Blossom White Artist: Al Hirt
2. Moon Over Dixie Artist: Duke Ellington
3. Shine Artist: Al Hirt
4. Rock a Bye Your Baby With a Dixie Melody Artist: Al Jolson
5. Dixie Jamboree Artist: Nat King Cole
6. Margie Artist: Pete Fountain
7. Dixie Artist: Al Caiola
8. High Society Artist: Pete Fountain
9. I Wanna Be Like You (Live) Artist: Kenny Ball
10. Alexanders Rag Time Band Medley Artist: The Beverley Sisters
11. Bugle Call Rag Artist: Benny Goodman
12. High Society Artist: Sidney Bechet
13. King Porter Stomp Artist: Glenn Miller
14. Maple Leaf Rag Artist: Sidney Bechet
15. Savoy Blues Artist: Acker Bilk
16. That's a Plenty Artist: Tommy Dorsey
17. Tiger Rag Artist: Alvino Rey
18. When the Saints Go Marchin´ in Artist: Louis Armstrong
19. Way Down Yonder In New Orleans Artist: Bill Coleman
20. South Rampart Street Parade Artist: Bob Crosby
21. Muskrat Ramble Artist: Dean Martin
22. Careless Love Artist: The American Patrol Orchestra
23. Beale Street Mama Artist: Cab Calloway
24. Chinatown My Chinatown Artist: Chet Atkins
25. Weary Blues Artist: Tommy Dorsey

It Might As Well Be Swing - Ranwood Records

It Might As Well Be Swing
Various Artists Featuring Pete Fountain

It Might As Well Be Swing
Record Label: Ranwood
Originally released: 24-AUG-1999

Artist: Glenn Miller
1. Tuxedo Junction
2. Chattanooga Choo Choo
3. Pennsylvania 6-5000
4. Sun Valley Jump
5. Bugle Call Rag
6. I've Got A Gal In Kalamazoo
7. Perfidia
8. Runnin' Wild

Artist: Lawrence Welk
9. Take The "A" Train
10. One O'clock Jump
11. Christopher Columbus
12. King Porter Stomp
13. Caravan
14. That Old Black Magic
15. Organ Grinder's Swing
16. Tangerine

Artist: Pete Fountain
17. Cheek To Cheek
18. Alice Blue Gown
19. Runnin' Wild

Artist: Myron Floren
20. Pennsylvania Polka
21. The Thunder Polka
22. Jolly Polka