"Fountain's clarinet work was noted for his sweet fluid tone. He recorded over 100 LPs and CDs under his own name, some in the Dixieland style, many others essentially instrumental pop records with only peripheral relevance to any type of jazz. Nonetheless, in 1997 critic Doug Ramsey of Jazz Times magazine included Fountain on a list of underrated musicians, writing: "His ear for harmony and mastery of time are among the best-kept secrets in jazz because all these years he has chosen to stick with the repertoire and sidemen that make him comfortable."

The distinctive Fountain sound — more woody than most — came from the crystal mouthpieces he played with since 1949 rather than the more common rubber mouthpieces. His first crystal mouthpiece was actually Irving Fazola's, given to Pete by Fazola's mother after Faz's death, because she had heard him play and noted how he played like her son. That mouthpiece was shattered on the bandstand one night when Pete had played his solo and was standing by as trumpeter George Girard played his [own solo], and Girard brought his trumpet down suddenly on top of the mouthpiece. Pete kept the shattered mouthpiece, and played other crystal mouthpieces from then on.

Fountain led the Pete Fountain Quintett, a New Orleans French Quarter jazz band of Fountain and his Creole-style music. The "Quintett" had many musicians over the years, but primarily recorded with Jack Sperling on drums, bassists Don Bagley or Morty Corb, vibraphonist Godfrey Hirch, and pianists Merle Kock or Stan Wrightsman."