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Johnson, Mike (ed.) / Leblanc Bell : A newsletter for music retailers, educators, employees and friends of G. Leblanc Corporation
(May 6, 1996)

Fan mail,   pp. 16-20

Page 18

Eddie Daniels
Superstar jazz clarinetist
Leblanc France 1189 Concerto clarinet
As the worlds's foremost purveyor
of modern jazz clarinet, Eddie Daniels
can be held personally accountable for
elevating the instrument to a status in
jazz not seen since the heyday of Benny
Goodman. Eddie took up clarinet at
age 13 and credits music as his inroad
to self-esteem and achievement. After
years as a top-notch studio freelancer,
Eddie has forsaken the lucrative ses-
sion scene and now concentrates on
his career as a clarinet soloist, occa-
sionally playing his tenor saxophone
when the muse beckons. He plays the
Leblanc France Concerto model clari-
net exclusively. Eddie records regularly
and performs around the world, trav-
eling to points abroad from his home
in Santa Fe, New Mexico.
I have known Vito Pascucci for approxi-
mately 25 years, and the one word I can
unhesitatingly use to describe him is
"passionate." Passionate about music,
education and especially passionate
about the quality of "his" instruments -
in my case, the clarinet.
This quality is one that I admire and
respect and espe-
cially understand
since I, as a musi-
cian, am also pas-
sionate about music
education and the
great quality of the
Leblanc clarinet.
Just as an aside, I
just realized that I
started playing Leblanc at age 13, a
mere 40 years ago. Hence, I have a par-
ticular warmth in my heart for this man
and his wonderful company!
So, to Vito, a self-made man who
built his company into the great suc-
cess that it is, I wish you the best on
your 50th anniversary.
With love,
Eddie Daniels
Maynard Ferguson
Stratospheric trumpet legend
Holton ST306 MF trumpet, ST303
Firebird, TR395 Superbone
With a relationship dating to 1972,
Maynard Ferguson is one of Holton
and Leblanc's oldest friends. A child
prodigy, Ferguson led his own bands
by age 15 and achieved legend status
in the early 1950s as Stan Kenton's
wunderkind high-note specialist. May-
nard interrupted a career as a success-
ful band leader for a sojourn in the
late 1960s to England and then to In-
dia. He burst back on the American
music scene in 1972 with a contempo-
rary sound, a young new band and
seeking a new trum-
pet. Together, Hol-
ton engineers and
Maynard turned his
vision of the perfect
horn into the Hol-
ton model ST306 MF
trumpet He went on
to co-create with
Holton an entire se-
ries of distinctive namesake instru-
ments. At 67 years old, Maynard still
puts on jazzdom's most energetic show,
maintaining a touring schedule that
keeps him on the road most of the year.
Dear Vito,
Congratulations on your 50th anni-
versary. You certainly deserve all the
wonderful things that are happening
right now. Recalling my own personal
experiences with you, I would like to
make it publicly known how wonder-
ful you have been throughout our long
association. Vito, our many years of
association have been happy ones, and
you have always been such a help
to me with the teaching projects that
I have been involved with in India. I
also want to mention that I am sure
I will be with you for the next 50 years,
because you really do know all the best
Italian restaurants.
My career has been going well, par-
ticularly for the past ten years, and it
seems to be escalating with appear-
ances on network television. I am hop-
ing to become an incredible success
because, Vito, it is the only way that I
can afford your tailor.
Just one more thing: In our future
association, it is very important that I
get to hear you play the trumpet
PS. My wife loves you too.
Pete Fountain
The King of Dixieland
Leblanc France "Pete Fountain" clarinet
Mention the words "clarinet" and
"New Orleans" in the same sentence,
and the image you conjure is that of
Pete Fountain, the cherubic dean of
Dixieland and Leblanc endorser for
almost 40 years. As a "skinny kid with
bad lungs," Pete took up clarinet on
advice of a physician, but his interest
fast grew beyond the instrument's
therapeutic benefits. By his mid-teens,
Pete had become a regular in the Big
Easy's jazz clubs, and his name was
being mentioned with those of clari-
net legends like Irving Fazola, his men-
tor and idol. Later, two seasons on
Lawrence Welk's television show cata-
pulted Pete into the national spotlight.
Over 50 subsequent appearances on
the Tonight Show have kept Pete's face
familiar as an American icon. Pete still
performs nightly on his Leblanc France
clarinet to packed houses at his own
club in New Orleans.
L all my friends at G. Leblanc:
I would like to take this opportu-
nity to congratulate G. Leblanc Cor-
poration on the 50th anniversary of
its American founding and to person-
ally thank its chairman, my good
friend, Vito Pascucci, for all he has
done and will con-
tinue to do for the
music industry.
My association
with Leblanc began
in 1958 during my
tenure with the
Lawrence Welk TV
program. During
that year, a very ar-
ticulate and persistent Vito convinced
me to change instruments from the
clarinet I was playing to the Leblanc
Symphonie model. He was able to make
this change because I was so impressed
with his knowledge of the clarinet and
his concern for what I needed -to be
the best musician I could be.
From that initial meeting evolved
Vito's creation of the Pete Fountain
Leblanc clarinet. Through Vito's
knowledge of the relationship between
a musician and his instrument, he de-
signed the Pete Fountain model with a
larger bore that enables me to capture
that "fat" sound.
I feel that the success of G. Leblanc
Corporation has been based on the
genuine values of the Pascucci family,
Vito and Leon. Success will undoubt-
edly continue for another 50 years un-
der the leadership of Leon.
I will always be grateful for my asso-
ciation with Leblanc, but more impor-
tant, for the genuine friendship that
has developed with my "brother" Vito
and the Pascucci family. I remain,
Musically yours,
Pete Fountain
Urbie Green
The trombonist's trombonist
Martin 4501 "Urbie Green" tenor trombone
Urbie exploded onto the jazz scene
in the early '50s as star soloist of Woody

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