Pete Fountain (born July 3, 1930, New Orleans) was an American jazz clarinetist known for his warm, lyrical tone, Dixieland style, signature performance of “Basin Street Blues”, appearances on The Lawrence Welk Show, and use of circular breathing. His sound helped bring New Orleans clarinet to a worldwide television and recording audience.
Who Was Pete Fountain? – Life, Birthdate, and New Orleans Roots
Pete Fountain was a New Orleans clarinetist whose singing tone and easy swing made him one of the most recognizable jazz musicians of the 20th century. Born in 1930 in New Orleans, he grew up surrounded by brass bands, dance halls, and the street-parade tradition that shaped his phrasing and sense of groove.
Most reliable biographical references list his birthdate as July 3, 1930, in New Orleans, Louisiana. Some secondary sources mention July 30, 1930, which creates confusion for students and researchers. For serious study, it is wise to consult primary records such as New Orleans birth certificates and early union or school documents.
Fountain began clarinet studies after childhood health issues led doctors to recommend a wind instrument. He studied with local teachers, including classical and dance-band players, and absorbed the sounds of Benny Goodman, Irving Fazola, and New Orleans legends like George Lewis. This mix of swing and traditional jazz shaped his later Dixieland style.
By his teens, he was already performing in local bands on Bourbon Street and in neighborhood clubs. The postwar New Orleans scene exposed him to rhythm-and-blues, traditional jazz, and commercial dance music, all of which appear in his flexible tone, relaxed time feel, and melodic approach to improvisation.
Pete Fountain was born in 1930 and recorded professionally for over 50 years, appearing on more than 100 albums and countless television broadcasts.
Fountain married young, raised a family in Louisiana, and kept New Orleans as his musical home base even when national television and touring opportunities appeared. His identity remained tied to the city's parades, Mardi Gras krewes, and club culture, which kept his clarinet style rooted in street music rather than only concert stages.
Pete Fountain's Place in New Orleans and Dixieland Jazz (historical context)
Pete Fountain emerged during a period when Dixieland and New Orleans revival jazz were regaining popularity. In the 1940s and 1950s, audiences rediscovered early jazz through recordings by Louis Armstrong, Bunk Johnson, and George Lewis. Fountain entered this field as a younger clarinetist who could bridge traditional style with a smoother, more modern sound.
He played with the Basin Street Six and later with the Dukes of Dixieland, two groups that helped package New Orleans music for a national audience. These bands toured, recorded, and appeared on radio, giving Fountain a platform to showcase a clarinet tone that was both rooted in Sidney Bechet and Fazola and accessible to mainstream listeners.
New Orleans itself shaped his phrasing. The second-line rhythm of brass bands, the relaxed backbeat of rhythm-and-blues, and the vocal inflections of gospel all appear in his solos. Instead of aggressive, angular lines, he favored melodic paraphrase, scoops, and bends that sounded like a singer floating over a two-beat feel.
Historically, Fountain helped keep clarinet central in Dixieland at a time when saxophone and electric guitar were taking over popular music. His success on television and in Las Vegas-style showrooms proved that a clarinetist could still be a front-line star, not just a section player in big bands or orchestras.
By the mid-1960s, Pete Fountain reportedly led more than 200 performances per year, including club residencies, tours, and television tapings, helping sustain live Dixieland jazz for new audiences.
For clarinet students, his historical role matters because it links early New Orleans clarinet traditions to later players who blend traditional jazz with swing, pop, and even country influences. Many modern Dixieland clarinetists trace their concept of tone and phrasing directly to Fountain's recordings and television appearances.
Signature Repertoire: “Basin Street Blues” and Notable Performances (Lawrence Welk Show)
“Basin Street Blues” became Pete Fountain's calling card. The tune, written by Spencer Williams and associated with New Orleans, gave him a perfect framework for his warm chalumeau register, vocal-style scoops, and lyrical embellishments. His versions often start with a simple statement of the melody, then grow into ornate improvisations.
One widely cited recording of “Basin Street Blues” dates from the late 1950s, when Fountain was recording for labels such as Coral and Decca. These studio tracks showcase his centered tone, moderate vibrato, and tasteful double-time runs. Later live recordings from New Orleans clubs reveal more relaxed tempos and extended choruses.
Fountain's time on The Lawrence Welk Show in the late 1950s and early 1960s brought his clarinet sound into living rooms across the United States. Welk's program favored polished arrangements and family-friendly presentation, yet Fountain managed to slip in authentic New Orleans phrasing and blues inflection within that format.
On the show, he performed standards, polkas, and pop tunes, but his jazz features stood out. Viewers remember his smiling stage presence, effortless altissimo, and the way he could float a melody over Welk's rhythm section. These appearances made him one of the few clarinetists of his era to become a household name.
After leaving The Lawrence Welk Show, Fountain opened his own club in New Orleans and continued to feature “Basin Street Blues” and other standards in nightly sets. His festival appearances, including the New Orleans Jazz & Heritage Festival, often highlighted that tune as a centerpiece, inviting audiences to hear how his interpretation evolved over decades.
For students, “Basin Street Blues” offers a practical study piece. Its moderate tempo, clear harmonic structure, and singable melody allow you to focus on tone, vibrato, and ornamentation. Listening to multiple Fountain versions side by side reveals how he varied introductions, tags, and inner choruses while keeping the tune recognizable.
Signature Sound and Technique – Tone, Vibrato, Breath Control, and Circular Breathing
Pete Fountain's sound combined a dark, woody core with a bright edge that carried over bands and television microphones. He favored a centered, focused tone in the low and middle registers, with a slightly more open, ringing quality in the upper clarion and altissimo. This balance came from his embouchure, air support, and equipment choices.
His vibrato was usually gentle and vocal-like, not wide or fast. On ballads and blues, he used a slow jaw vibrato that opened and closed the oral cavity slightly, creating a warm shimmer. On faster Dixieland tunes, he often reduced vibrato or used it only at the ends of longer notes to keep the line clear and rhythmic.
Breath control was central to his style. Fountain could sustain long, arching phrases that spanned multiple measures without obvious gasps. This came from steady diaphragmatic support, efficient air use, and a relaxed throat. He avoided overblowing, instead using consistent air pressure and subtle dynamic shaping to keep the tone alive.
Circular breathing became one of his trademarks. By storing air in his cheeks and using cheek muscles to push air through the clarinet while quickly inhaling through the nose, he could maintain a continuous tone for extended passages. Audiences often marveled at his ability to play long runs or held notes without apparent breaks.
Advanced players who practice circular breathing 5 to 10 minutes daily often reach 8 to 16 bars of continuous sound within 3 to 6 months, similar to the sustained phrases heard in Pete Fountain's performances.
Articulation in Fountain's playing was light and legato-oriented. He often used a soft “du” syllable for swing lines, reserving harder “tu” attacks for accents or Dixieland-style kicks. This approach kept his phrases connected and vocal, even when he played syncopated rhythms or quick embellishments around the melody.
Intonation and register balance also shaped his sound. He kept the throat notes focused and avoided the spread, flat quality that can appear on G, G sharp, and A above the staff. In the altissimo, he used firm support and careful voicing to keep the tone singing rather than shrill, which is important for anyone trying to emulate his style.
Practical Technique Guide: Drills to Emulate Fountain (phrasing, improvisation, ornamentation)
To approach Pete Fountain's style, you need a focused practice plan that targets tone, phrasing, and ornamentation. Start with short, specific drills, then apply them to tunes like “Basin Street Blues” and other New Orleans standards. The goal is not exact imitation but absorbing his vocabulary and feel.
Long-tone and vibrato drill
Begin with 10 to 15 minutes of long tones daily. Play from low E to high C, holding each note for 8 to 12 counts at a comfortable mezzo-forte. Focus on a centered, even sound. Then repeat the exercise, adding slow jaw vibrato on the second half of each note, aiming for gentle, controlled waves.
On ballad tempos, practice starting each note straight, then gradually introducing vibrato after 2 to 3 beats, as Fountain often did. Record yourself and compare to his ballad recordings, listening for smooth onset, even speed, and tasteful depth rather than heavy wobble.
Phrasing and breath-control drill
Take the 16-bar strain of “Basin Street Blues” and mark natural breathing points. Practice playing 4-bar, then 8-bar segments in one breath, focusing on relaxed but supported air. Gradually increase phrase length until you can comfortably play 8 to 12 bars without tension.
Shape each phrase with dynamics: start slightly softer, swell toward the middle, and relax at the end. This contour mirrors Fountain's vocal approach and trains you to think in musical sentences rather than bar-by-bar breathing.
Circular breathing primer
Begin away from the clarinet. Fill your cheeks with air and gently squeeze them to blow air through pursed lips while quickly inhaling through your nose. Alternate cheek pressure and nasal inhalation in short cycles until it feels natural. Then try the same motion through the mouthpiece only, without the full instrument.
Once you can maintain a continuous sound on the mouthpiece, move to a single note on the clarinet, such as low G. Aim for 2 to 4 seconds of circular breathing at first, then extend gradually. Use a metronome and track your maximum continuous time each week to monitor progress.
Ornamentation and grace-note drill
Fountain used slides, grace notes, and turns to decorate melodies. On “Basin Street Blues”, identify key target notes, such as the third and fifth of each chord. Practice approaching these notes from a half-step below or above using quick grace notes, always landing squarely on the beat.
Next, add short turns: play a note, move up a step, back to the note, then down a step, and return. Keep the ornaments light and rhythmic, not heavy or late. Work slowly with a metronome, then increase tempo until the figures feel natural within a swing feel.
Improvisation framework drill
Use a simple 12-bar blues or the changes to “Basin Street Blues” and limit yourself to 3 or 4 notes at first, such as the root, third, fifth, and flat seventh. Improvise short, melodic phrases using only those notes, focusing on rhythm, space, and call-and-response ideas.
As you gain confidence, add passing tones and chromatic approach notes, but keep the melodic contour singable. Listen to Fountain solos and transcribe 2 to 4 bar phrases, then insert them into your own solos in different keys. This builds a vocabulary that echoes his style without copying entire choruses.
Instruments and Gear: The Martin Freres Connection and What's Missing in the Record
Pete Fountain's exact gear changed over his long career, and the public record does not always provide precise specifications. Clarinetists often ask about his mouthpiece model, reed strength, and bore measurements, but many details remain scattered across interviews, photographs, and instrument-collector notes.
Clarinet anatomy plays a large role in his sound. The bore size and taper affect warmth and projection, the mouthpiece facing and tip opening influence response and flexibility, and the ligature and reed strength shape articulation and color. Fountain favored a setup that allowed both smooth legato lines and crisp Dixieland attacks.
Historically, New Orleans clarinetists, including some of Fountain's predecessors, played instruments from makers such as Martin Freres. These clarinets were known for warm, singing tone and responsive low registers, qualities that align with the sound Fountain pursued, even if his own primary professional instruments later came from other manufacturers.
Many modern sources mention that Fountain used custom or modified mouthpieces tailored to his embouchure and air support. Players report that he preferred a relatively open tip with a medium to medium-soft reed, which allowed for easy bending, vibrato, and circular breathing without excessive resistance.
Martin Freres field note: Archival catalogs from the mid-20th century show Martin Freres clarinets with medium-large bores and flexible response favored by New Orleans-style players. While direct documentation of Pete Fountain using a specific Martin Freres model is limited, researchers often compare his recorded tone to preserved examples in Martin Freres collections to study bore and tonal characteristics.
What is missing from the record are consistent, verifiable specifications: exact clarinet model names, serial numbers, bore diameters, and mouthpiece facings. To fill these gaps, serious historians and gear enthusiasts should consult instrument archives, period photographs, and surviving instruments from Fountain's peers, as well as any estate or museum collections that may hold his personal gear.
For students, the key takeaway is that you do not need an identical setup to approach his style. Any well-adjusted professional or intermediate clarinet, paired with a responsive mouthpiece and reed combination, can support the warm, lyrical sound and flexible phrasing associated with Fountain.
Workshop Notes & Maintenance Tips for Fountain-style Tone (reeds, mouthpieces, setup)
A consistent, warm tone like Pete Fountain's depends on careful setup and daily maintenance. Even the best clarinet will sound thin or unstable if reeds, mouthpiece, and mechanism are neglected. A simple workshop routine can keep your instrument ready for lyrical New Orleans-style playing.
Reed selection and testing protocol
Start with 3 to 5 reeds of the same brand and strength, typically in the 2.5 to 3 range for many players aiming at Fountain-style flexibility. Wet each reed for a minute, then play soft long tones in the low register. Eliminate reeds that feel stuffy, wildly uneven, or chirpy on throat tones.
Rotate your best 3 reeds daily. Play scales and a chorus of “Basin Street Blues” on each, noting response, intonation, and color. Mark reeds with a pencil (1, 2, 3) and track which ones perform best over a week. This rotation extends reed life and keeps your setup consistent from day to day.
Mouthpiece care and alignment
Clean your mouthpiece regularly with lukewarm water and a soft brush, avoiding hot water that can warp the facing. Remove mineral deposits gently with a soft cloth. A clean mouthpiece improves response and helps reeds seal properly, which is important for a centered, singing tone.
When mounting the reed, align the tip so it matches the mouthpiece tip exactly, with equal side margins. Tighten the ligature just enough to prevent slipping, but not so tight that it chokes vibration. Small alignment errors can cause airy or unstable notes, especially in the chalumeau register.
Ten-step daily care routine
After each practice or performance, follow a quick ten-step routine: swab the bore, wipe the tenons, check that corks are lightly greased, inspect pads for moisture, dry the mouthpiece, loosen the ligature, store reeds in a ventilated case, check key screws for obvious looseness, gently wipe fingerprints from keys, and store the instrument in its case.
This routine takes only a few minutes but prevents warping, pad damage, and sticky keys. A stable instrument lets you focus on phrasing and vibrato, not mechanical surprises, when you attempt long, Fountain-style lines or circular breathing passages.
Pad and tenon inspection
Once a week, visually inspect pads under strong light. Look for dark rings, fraying, or compression that could cause leaks. Gently test each key by closing it and blowing low notes at soft dynamics. If a note is unstable or airy, a pad leak may be the cause.
Check tenon corks for dryness or cracking. A loose joint can cause alignment issues and air leaks, which thin the sound and make vibrato and circular breathing harder to control. Apply a small amount of cork grease as needed and consult a technician if corks are compressed or damaged.
Troubleshooting: Common Issues When Chasing a Pete Fountain Sound
Many students encounter similar problems when trying to emulate Pete Fountain's tone and phrasing. Addressing these issues systematically can save time and frustration. Most problems fall into four categories: thin tone, inconsistent vibrato, limited breath stamina, and mechanical noise or resistance.
Airy or thin tone
If your sound lacks warmth, first check reed strength and condition. A reed that is too hard can feel resistant and produce a pinched tone, while one that is too soft can sound fuzzy and unstable. Experiment within a half-strength range and favor reeds that respond easily at soft dynamics.
Next, confirm mouthpiece and reed alignment and ensure tenon joints fit snugly. Even small leaks can rob the tone of depth. Finally, evaluate your embouchure: aim for firm corners, relaxed chin, and a cushion of lower lip over the teeth. Avoid biting, which thins the sound and restricts vibrato.
Inconsistent vibrato
Uneven or wobbly vibrato often comes from lack of breath support or excessive jaw motion. Practice straight-tone long notes first, then add very slow jaw pulses, counting four slow waves per whole note. Keep the air steady and let the jaw motion be small and regular.
Record yourself on a simple melody like “Basin Street Blues” at ballad tempo. Listen for places where vibrato speeds up or becomes too wide. Aim for a subtle shimmer, especially on sustained notes at phrase peaks, similar to Fountain's controlled, vocal vibrato.
Difficulty sustaining long phrases
If you struggle to play 8-bar phrases in one breath, focus on breath capacity and efficiency. Practice full, relaxed inhalations using abdominal expansion, then exhale in a slow hiss for 15 to 20 seconds. Repeat several times, gradually increasing duration.
On the clarinet, play scales and simple melodies at soft to medium dynamics, avoiding overblowing. As stamina improves, introduce basic circular breathing drills off the instrument, then on a single note. Build gradually until you can maintain continuous sound for 8 to 16 bars, a hallmark of Fountain's style.
Mechanical noise and resistance
Clicking keys or sluggish action can distract from musical goals. Lightly apply key oil to pivot points as recommended by a technician, and avoid over-oiling. Sticky pads may need gentle cleaning or professional adjustment. Regular checkups keep the mechanism quiet and responsive.
If certain notes feel resistant or unstable, have a technician check for pad leaks, bent keys, or misaligned tone holes. A well-regulated clarinet responds evenly across registers, making it easier to match Fountain's smooth transitions from low, woody notes to bright, singing upper-register phrases.
Legacy and Player Outcomes – How Fountain Shaped Clarinetists and Modern Dixieland
Pete Fountain's influence extends far beyond his own recordings. He showed that a clarinetist could be a charismatic bandleader, television personality, and club owner while staying rooted in New Orleans tradition. Many modern Dixieland and traditional jazz players cite him as their first clarinet hero.
His warm, approachable sound invited listeners who might have found early jazz too raw or modern jazz too abstract. By blending Dixieland phrasing with a smoother, swing-influenced tone, he created a style that students can realistically aim for, even on intermediate instruments, with focused practice.
For clarinetists, clear practice outcomes inspired by Fountain include developing a consistent, warm tone over a 16-bar phrase, mastering tasteful vibrato on ballads and blues, and learning to sustain continuous sound for 8 to 16 bars through breath control and circular breathing. These goals translate directly into more confident performance in any jazz setting.
Repertoire-wise, he helped cement tunes like “Basin Street Blues”, “When the Saints Go Marching In”, and other New Orleans standards as core study pieces for jazz clarinet. Transcribing his solos and arrangements gives students a practical library of licks, turnarounds, and intros they can adapt to their own playing.
His legacy also includes a model of professionalism and showmanship. Fountain balanced technical skill with an easy stage presence, always appearing relaxed and joyful. For developing players, this reminds us that audience connection, melodic clarity, and personal sound matter as much as speed or harmonic complexity.
Modern clarinetists who absorb his approach often find they can move comfortably between traditional jazz, swing, and even pop contexts. The same warm tone, clear articulation, and melodic focus that defined his playing can serve you in small-group gigs, big band sections, and solo features alike.
Key Takeaways
Pete Fountain combined New Orleans Dixieland roots with a warm, lyrical tone, bringing jazz clarinet to national audiences through recordings and The Lawrence Welk Show.
His style rests on controlled vibrato, strong breath support, and circular breathing, supported by a responsive clarinet setup and careful daily maintenance.
Practical drills on long tones, phrasing, ornamentation, and basic circular breathing can help you approach his sound on tunes like “Basin Street Blues”.
While exact gear specs remain incomplete in the public record, any well-adjusted clarinet with a flexible mouthpiece and reed setup can support Fountain-style playing.
FAQ
What is Pete Fountain?
Pete Fountain was an American jazz clarinetist from New Orleans, born in 1930, known for his warm tone, Dixieland style, and signature performances of tunes like “Basin Street Blues”. He became widely recognized through recordings, club performances, and television appearances, especially on The Lawrence Welk Show.
How did Pete Fountain influence Dixieland and New Orleans jazz clarinet?
Fountain helped bring New Orleans and Dixieland clarinet to mainstream audiences by blending traditional phrasing with a smoother, swing-influenced sound. His recordings and television work kept clarinet at the center of Dixieland ensembles and inspired generations of players to pursue warm tone, melodic improvisation, and relaxed, vocal-style phrasing.
What techniques did Pete Fountain use (circular breathing, vibrato, phrasing)?
He used a gentle, vocal-like vibrato, legato-focused articulation, and long, arching phrases supported by strong breath control. Circular breathing allowed him to sustain continuous sound for extended passages. His phrasing emphasized melodic paraphrase, tasteful grace notes, and rhythmic placement that reflected New Orleans second-line and swing influences.
Which clarinet and gear did Pete Fountain play – did he use Martin Freres?
Over his career, Fountain used various professional clarinets and custom or modified mouthpieces, often paired with medium-strength reeds. Public sources do not provide a complete, consistent list of specific models or bore measurements. While earlier New Orleans players used instruments from makers such as Martin Freres, direct, detailed documentation of Fountain using a particular Martin Freres model is limited and requires archival research.
How can I play “Basin Street Blues” in the style of Pete Fountain?
Start by learning the melody accurately and playing it with a warm, centered tone at a moderate tempo. Add gentle vibrato on longer notes, use light grace notes to approach key tones, and practice 8-bar phrases in one breath. Then transcribe short phrases from Fountain's recordings and insert them into your own solos while keeping the melody clear.
