[Dixielandjazz] Basin Street Six - "Margie" question

[Charles Suhor]

Hi, Fuzzy—

The main sources I have about Fountain and Girard’s relationship are (1) reliable hearsay at the time and (2) my interview with Pete for a Down Beat article (11/23/61). The former was the widely circulated story that both enjoyed the spotlight with the Six, out-clowning each other with onstage hijinks (the funny hats thing). Plus, Pete wasn’t fond of George’s singing. Lou Dillon, my drum teacher at the time, was on B. Street leading the pit band at the Sho’Bar, and he was a concrete source with no axe to grind. He commented that he thought Pete was a lot funnier than George. Others talked about the tension, not maliciously but in the course of chatter over coffee, beer, etc. In the interview for DB, I asked Pete why he went to a quartet format (Pete Fountain and His Three Coins) after he left the Six and opened at the Famous Door. It didn’t get in the article, but he said something like “Trumpeters! They drive me crazy! And who could I get that could play the style? Thomas Jefferson is working….etc.” I took this as coded confirmation of his differences with Girard but didn’t pursue it. It wasn’t my gig to stir that pot. 

I’ve thumbed through the autobio but didn’t read it closely. I’m not surprised that Pete spoke well of George. Old feuds often fade as time passes. In 1972 there was no gain to be had from reviewing the past. Pete was, after all, famous and in a secure position, much loved as an artist and cultural icon. And George, after all, was a fine player who died of cancer at a young age. Pete did the right thing by praising George’s clear gifts. 

Charlie

P.S.—Pete, by the way, gave my brother a new clarinet when he saw the bad condition Don’s clarinet was in. In turn, after Don died I donated it to a N.O. musician who lost his horns in Katrina.



> On Jan 8, 2016, at 1:57 PM, Fuzzy <fuzzymail at fuzzyjazz.com> wrote:
> 
> Charlie,
> 
> Have you read A Closer Walk (Pete's autobiography)? Reading that book is the only reference I have pertaining to the relationship between Pete and George.  If I recall correctly, Pete (in that book) portrayed a genuine respect for George's talent, but did mention the departure where George misled the Basin Street Six group into thinking he was sick, when he really went out to play elsewhere, which created the separation.  He stated that he admired George's (paraphrased) drive, verve, dedication, and boldness in progressing his musical endeavors.
> 
> The book also touches on the subject of the "funny hats band" too.  
> 
> Unfortunately, this single book is really my only knowledge of the subject of their breakup/relationship though...could you recommend further material?
> 
> Fuzzy  
> 
> -----Original Message-----
> From: Charles Suhor [mailto:csuhor at zebra.net] 
> Subject: Re: [Dixielandjazz] Basin Street Six - "Margie" question
> 
> I have this excellent CD of the Six. They were the hottest young band of the postwar revival, a joy to hear. I thought them to be far more swinging than the Dukes, who turned blatantly commercial—and successful—with their first Audio Fidelity LP (in hi-fi, an innovation at there time). Despite this, Frank Assunto continued to grow as a trumpeter in my view. The Six used to clown around a lot on the bandstand and play occasional flagwavers like Waiting for the Robert E. Lee, so they got a bad rap as a “funny hats band” from some critics. But then they’d turn around and play a jazz tune that would knock yer socks off.  Girard and Pete didn’t get along so the Six broke up, and George brought a fine unit into the Famous Door. 
> 
> Charlie
> 
> 
> 
> 
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