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Conte Candoli

Secondo "Conte" Candoli (July 12, 1927 – December 14, 2001) was an American jazz trumpeter renowned for his vibrant, muscular playing style and contributions to West Coast jazz, particularly through his work with major big bands and studio sessions. Born in Mishawaka, Indiana, to Italian immigrant parents, Candoli was the younger brother of fellow trumpeter Pete Candoli and began playing trumpet at a young age under his father's encouragement as an amateur musician. Candoli's launched in his teens when he joined Woody Herman's in 1944 while still in high , making his first recorded the following year on "Put That on My ." Self-taught and initially influenced by swing-era figures like and , he soon adopted of Dizzy Gillespie's approach, blending precision with energy to create a bright, improvisational sound that distinguished him among West Coast players. By the late 1940s, he had performed with ensembles like Chubby Jackson's Fifth Dimensional Jazz Group and Stan Kenton's (1948, 1951–1954), solidifying his reputation as a top session and big-band trumpeter. In the 1950s, after relocating to in , Candoli co-led the Thursday Night Band with his brother Pete from 1957 to 1962 and contributed to influential groups such as Rumsey's All-Stars (–1955). He recorded prolifically, amassing 123 and 770 tracks, including collaborations with artists like , , and , while also leading his own and working with Gerry Mulligan's Concert and . His technical prowess and spontaneity earned him widespread respect, though dental issues later in shifted his to richer lower-register playing. Candoli's later career included a long tenure with Doc Severinsen's band on The Tonight Show Starring Johnny Carson from 1972 to 1992, where he provided trumpet work for TV specials and live performances, and ongoing involvement with the bebop tribute group Supersax starting in 1972. He received the International Jazz Hall of Fame induction in 1997 and continued recording until shortly before his death from cancer in Palm Desert, California; his final album, Candoli Live (recorded in 2000 and released posthumously in 2002). Throughout his life, Candoli remained a dedicated educator, leading clinics and inspiring younger musicians with his blend of virtuosity and warmth.

Early life

Birth and family

Secondo Candoli, known professionally as Conte Candoli, was born on July 12, 1927, in Mishawaka, Indiana, to Italian immigrant parents who had arrived in the United States after World War I. His parents, of Italian descent, settled in the industrial town of Mishawaka, part of the South Bend area, where many Italian families found work in factories during the early 20th century. Candoli's father worked as a in a local rubber plant, providing for the family amid the economic hardships of the , which deeply affected Italian-American communities in the Midwest through widespread and reliance on . Despite his demands, the Candoli as a hobby, playing the trumpet in an amateur band at a local Italian club, which filled the household with instruments and fostered an early interest in among his children. This Italian-American cultural environment, centered on community gatherings and familial traditions, helped sustain the family's spirit during the Depression's challenges. Candoli grew up in a close-knit sibling relationship with his older brother, Walter Joseph "Pete" Candoli, born on June 28, 1923, in the same Mishawaka home, where the brothers shared a passion for music from a young age. The brothers' musical household, influenced by their father's amateur playing, encouraged both to take up the trumpet, laying the foundation for their lifelong bond and parallel careers in jazz.

Musical beginnings

Candoli's introduction to music occurred within a vibrant family environment in , where his father, an amateur trumpeter and member of a local band, maintained a household filled with instruments and actively encouraged his sons' musical pursuits from a young age. Inspired primarily by his older brother Pete, who had already begun playing trumpet, Conte took up the instrument at age twelve, practicing extensively on his father's horns in this supportive setting and developing his initial skills through emulation and guidance. As a teenager in the early 1940s, Candoli immersed himself in local musical activities around Mishawaka, including involvement with school ensembles at Mishawaka High School, where he refined his technique through community performances and rigorous home practice. Largely self-taught beyond familial instruction, he absorbed key influences by listening to recordings of prominent big bands, particularly admiring the swing-era trumpet styles of Harry James and Roy Eldridge, which shaped his foundational approach to improvisation and phrasing. A came in the summer of , during his junior year at , when his brother Pete, already a member of Woody Herman's , recommended the sixteen-year-old Conte to with the , providing his first taste of semi-professional amid established musicians and his ascent in .

Professional career

Big band associations (1940s–1950s)

Candoli joined Woody Herman's full-time in the summer of 1945, following an initial appearance with the in 1943, and contributed to its evolution during the First Herd era until his draft into the U.S. Army in late 1945. His tenure coincided with the band's shift from swing toward early bebop influences, highlighted by head arrangements like "Apple Honey" and recordings for Columbia, including tracks such as "Bijou" and "Goosey Gander" where he featured in the trumpet section alongside his brother Pete, Sonny Berman, and Neal Hefti. The Herman toured extensively across the United States during this period, performing at major venues and helping solidify Candoli's reputation as a versatile section player amid the postwar scene. Following his U.S. service from late to , Candoli joined Jackson's Fifth Dimensional Group from to , a emphasizing head charts and . With personnel including Tough on and on vibes, the group toured internationally, including a notable 1947 trip to where they recorded George Wallington's "Lemon Drop," showcasing Candoli's emerging solo voice in a smaller big band format. This association bridged Candoli's swing roots with the bebop movement, allowing him to refine his phrasing and tonal agility in live settings. In 1948, Candoli spent a year with Stan Kenton's orchestra, returning intermittently from 1950 to 1953 and again in 1954, contributing to the band's progressive jazz innovations during its "Innovations in Modern Music" phase. Under Kenton's direction, he participated in ambitious arrangements by composers like and , including features such as "Portrait" and live performances on European tours, like the 1953 Munich concert where he soloed on "Young Blood" amid a section with and . These engagements marked a stylistic progression toward larger-scale, symphonic , with Candoli's bright, articulate trumpet helping drive the orchestra's intense, forward-leaning sound on Capitol recordings. Candoli also had brief stints with Benny Goodman's band in 1948 and Dizzy Gillespie's orchestra around 1951, experiences that exposed him to refined swing precision and advanced bebop harmonies during the late 1940s and early 1950s. In 1949, he joined Charlie Ventura's "Bop for the People" septet for a short period, aligning with the group's vocal-instrumental blend and recording sessions featuring Jackie Cain and Roy Kral, such as live tracks from the Pasadena Jazz Festival that captured the era's bop enthusiasm. These associations underscored Candoli's adaptability as big bands navigated the transition from swing to cooler, more experimental forms.

West Coast collaborations and leadership (1950s–1960s)

In 1954, following his tenure with Stan Kenton, Conte Candoli formed his own quartet featuring bassist Chubby Jackson, trombonist Frank Rosolino, and pianist Lou Levy, leading recording dates and performances across the country before relocating to Los Angeles to capitalize on the burgeoning West Coast jazz scene and studio opportunities. This move marked a pivotal transition for Candoli, bridging his big band experience with the more intimate, cool jazz ensembles that defined California's jazz landscape in the mid-1950s. Upon arriving in Los Angeles, Candoli joined Howard Rumsey's Lighthouse All-Stars in 1954, contributing his trumpet to the group's signature sound for four years until 1958, alongside key members like Shorty Rogers on trumpet, Bud Shank on alto saxophone, and Bob Cooper on tenor saxophone. The Lighthouse All-Stars, based at the Lighthouse Cafe in Hermosa Beach, embodied the collaborative and innovative spirit of West Coast jazz through regular performances and recordings that emphasized relaxed tempos, intricate arrangements, and improvisational interplay among its rotating roster of top local talent. Candoli's contributions appeared on notable albums such as Howard Rumsey's Lighthouse All-Stars, Vol. 5 (1956), where his bright, articulate solos complemented the ensemble's cool aesthetic, and Sunday Jazz, Vol. 6 (1957), highlighting the group's dynamic evolution during this era. From 1957 to 1962, Candoli co-led the Candoli Brothers with his older brother Pete, a fellow trumpeter, forming a popular duo that performed extensively in Los Angeles clubs and recorded several acclaimed albums blending bebop energy with West Coast polish. Their joint projects included The Brothers Candoli (Dot, 1957), featuring swinging originals and standards with sidemen like pianist Jimmy Rowles and guitarist Barney Kessel, and Jazz Horizons: The Candoli Brothers Sextet (1957–1958), which showcased their harmonious trumpet interplay on tracks such as "Doodlin'" and "Take the 'A' Train." These recordings and live shows solidified the brothers' reputation as a formidable team, drawing on their shared big band roots to lead intimate groups that toured regionally and influenced the local jazz circuit. During to , Candoli performed with ' Dream , contributing to the group's high-energy through live and recordings that featured dynamic trumpet sections and bebop-infused arrangements. Candoli further expanded his by joining Gerry Mulligan's in , serving as a lead trumpeter through on and live recordings that fused Mulligan's sensibilities with expansive charts, including at Vanguard and . Concurrently, he engaged in key vocal collaborations, providing trumpet for Crosby's recordings in the late and early 1960s, and working with on sessions that highlighted his versatile ensemble playing. In Hollywood studios, Candoli contributed to early sessions with Frank Sinatra, such as the 1963 Reprise recordings at Western Recorders under Nelson Riddle's arrangements, where his precise lead lines enhanced the singer's orchestral backings.

Television and studio work (1960s–1990s)

In the late 1960s, Conte Candoli began making guest appearances on The Tonight Show Starring Johnny Carson, starting around 1967 and continuing through 1972, where he performed with the show's band led by Doc Severinsen. When the program relocated to Burbank, California, in 1972, Candoli joined as a permanent member of the NBC Orchestra, serving as the trumpet section leader until the show's conclusion in 1992. During this two-decade tenure, he contributed to hundreds of live broadcasts, blending his jazz improvisation skills with the ensemble's versatile repertoire that spanned big band standards, contemporary pop, and thematic cues. Parallel to his television commitments, Candoli established himself as a prolific studio musician in Hollywood, recording for numerous film scores, television themes, and crossover projects that merged jazz with popular music. He provided trumpet parts for soundtracks including Clint Eastwood's Bird (1988) and David Lynch's Mulholland Drive (2001), often without initial on-screen credit, and contributed to TV themes during an era when live orchestration was still prevalent. Notably, Candoli participated in all of Frank Sinatra's television specials, adding his distinctive brass lines to arrangements that highlighted Sinatra's vocal phrasing in jazz-inflected settings. These sessions underscored his adaptability, as he navigated the demands of precise studio timing while infusing subtle improvisational flair. Amid his media obligations, Candoli maintained an active schedule, including a featured appearance as a All-Star in alongside saxophonist , guitarist , and pianist . Into the 1990s, following the end of The Tonight Show, he continued touring sporadically with Severinsen's and alongside his brother , delivering concerts and clinics that preserved his . During this , Candoli increasingly incorporated the into his studio and live work, using its warmer, more mellow tone to complement trumpet solos in both jazz ensembles and orchestral contexts.

Personal life

Family and residences

Conte Candoli married Kristen Candoli, with whom he resided in the area during much of his later . The later moved to Dunes in the , near , where Candoli spent his . Candoli and his had together, but he was survived by his , Marcia Candoli Mitchel, from a previous relationship, who lived in West Los Angeles. He also helped raise his stepdaughter, Marla Kapoor, Kristen's from an earlier marriage. After moving to in 1954 to join the Lighthouse All-Stars and pursue studio work, Candoli established a long-term residence in the region, which allowed him to family life with his professional commitments. This West Coast base became his primary home for the remainder of his , reflecting the stability he sought amid his extensive travels earlier in his . Candoli maintained a close personal bond with his older brother, Pete Candoli, throughout their lives, sharing family support and living in proximity—Pete in Studio City, —beyond their shared musical endeavors. The brothers, who grew up together in Mishawaka, , along with their sister Gloria Henke, remained a central part of each other's personal world, with no other prominent extended family members noted in public records. His sister, Gloria Henke, died in 2024.

Death and tributes

Conte Candoli died on , , at the age of from cancer at the Monterey Palms Convalescent Home in , where he had resided in his . He was survived by his , Kristen Candoli; his brother, the trumpeter of ; his , Marcia Candoli of ; his stepdaughter, Marla of ; his , Henke of ; and several grandchildren. The announced the , and arrangements were handled privately, with no public details on services immediately available. In the , Candoli's passing prompted immediate expressions of for his vibrant playing and enduring contributions, with colleagues recalling his and improvisational flair as hallmarks of . His brother Pete, with whom he had shared a lifelong musical , expressed profound , noting that he thought of Conte every day and that was inexpressible in words, underscoring their emotional and . While specific statements from were not publicly documented at the time, the broader mourned Candoli as a legendary trumpeter whose work with ensembles like the Lighthouse All-Stars and Supersax had inspired generations. Following his death, a live recording titled Candoli Live, captured during a 2000 performance at in Neuburg, , was released in 2002 by Nagel-Heyer , serving as a poignant posthumous showcase of his commanding presence on standards like "." This album highlighted Candoli's continued vitality in his final active years, just months before his illness advanced.

Musical style and legacy

Playing style and influences

Conte Candoli's playing style was highly versatile, seamlessly blending the rhythmic drive and ensemble precision of big band swing with the intricate improvisation of bebop and the melodic lyricism characteristic of cool jazz. His early experiences in big bands provided a solid foundation for this adaptability, enabling him to excel in both lead and solo roles across diverse jazz settings. Critics noted his resourceful and eloquent approach to modern jazz soloing, marked by long, twisting phrases, rhythmic vitality on up-tempo pieces, and a keen sense of dynamics that shifted fluidly within improvisations. Candoli was renowned for his bright, articulate tone and remarkable facility in the high register, qualities that shone particularly in big band section work where precision and clarity were essential. His sound was described as hefty yet gorgeously clear, conveying aggression and confidence while maintaining a distinct individual quality that cut through ensembles. This technical prowess allowed him to navigate demanding bebop lines and high-note passages with near-faultless execution, establishing him as a top-tier soloist in the competitive world of West Coast jazz. Key influences on Candoli's included his brother , who served as his primary mentor and inspired his early aspirations. He drew from swing-era icons like and for foundational phrasing and tonal warmth, while his was profoundly shaped by Dizzy Gillespie's innovations. Later, from and enriched his palette, adding lyrical depth and emotional nuance. Collaborations with peers such as further refined his interplay and sensibilities, influencing his of subtlety into more aggressive frameworks. In his later , Candoli increasingly adapted to the , employing its warmer, more intimate for softer, melodic expressions that complemented his work in small-group settings and collaborations. This shift highlighted his versatility, allowing for gentler in ballads and mid-tempo pieces alongside his established high-energy solos. His command of both instruments underscored a prowess comparable to that of contemporaries like Maynard Ferguson, particularly in range and execution under pressure.

Awards and recognition

Conte Candoli received the Jazz Tribute Award from the Los Angeles Jazz Society in 1990, honoring his contributions to the West Coast jazz scene. In 1997, Candoli was inducted into the International Jazz Hall of Fame alongside his brother Pete, recognizing their collective impact on jazz trumpet playing and big band traditions. His extensive tenure in the trumpet section of from to contributed to the program's multiple for outstanding variety series, including wins in , , and , underscoring the band's in the show's acclaimed musical . Following his in , the established the Conte Candoli Papers collection, archiving his original manuscripts, , clippings, and photographs from to , preserving his for future scholars and musicians. Candoli's recordings, particularly from his collaborations in the Lighthouse All-Stars and big bands, have influenced subsequent generations of jazz trumpeters by exemplifying inventive and technical in .

Discography

As leader

Conte Candoli's recordings as a leader spanned several decades, showcasing his versatility in small-group settings rooted in and occasional Latin influences. His debut , Sincerely, Conte Candoli, released in 1955 on , featured a compact ensemble typical of mid-1950s cool , emphasizing lyrical trumpet lines over standards and originals. In 1957, Candoli led the session for Mucho Calor on the Andex label, an octet arrangement blending with mambo rhythms, highlighted by contributions from saxophonists and , , and vibraphonist Mike Pacheco, capturing the era's experimentation with Latin . The 1960 release Little Band Big Jazz on presented Candoli fronting a of Los Angeles session , including multi-instrumentalist Collette and , delivering energetic interpretations of tunes like "Muggin' the Minor" in a concise, big-sounding small-band format. Later, Conversation (1974, RCA Victor) paired Candoli with trombonist Frank Rosolino in a quartet setting, focusing on conversational interplay through ballads and up-tempo swings, reflecting his mature improvisational style. The 1970s collaboration with his brother Pete, Candoli Brothers (1978, Dobre Records), united the siblings in a sextet with guitarist Joe Diorio, pianist Lou Levy, bassist Fred Atwood, and drummer John Dentz, exploring swinging standards and originals in a familial, trumpet-led dialogue. In the 1990s, Candoli continued leading sessions, including Meets the Joe Haider Trio (1994, JHM Records), a collaboration with Swiss pianist Joe Haider and his trio on standards and originals emphasizing melodic interplay. His 1996 album Portrait of a Count on Fresh Sound Records featured a small group revisiting West Coast jazz classics with fresh improvisations. Sweet Simon (1992, Best Recordings), recorded earlier with a mid-sized combo, emphasized melodic jazz standards, underscoring his enduring West Coast sensibility. Posthumously, The Complete Phoenix Recordings, Vol. 1 (2002, ) compiled sessions from the with trombonist Carl Fontana, Loonis McGlohon, Kelly Sill, and , highlighting relaxed, standards-based interplay from live . No unreleased leader sessions from Candoli's personal papers have been publicly documented or issued.

As sideman

Candoli began his professional recording career as a sideman in the 1940s, contributing trumpet to big band sessions that highlighted his emerging bebop style. With Woody Herman's Orchestra, he appeared on key tracks from live and studio recordings, including the 1945 album Blowin' Up a Storm, where his agile trumpet lines supported the band's energetic swing-to-bop transition. In 1949, he joined Charlie Ventura's group for the live album Live at the Pasadena Civic Auditorium, delivering prominent trumpet solos on standards like "Fine and Dandy" during the band's high-energy bop performances. During the , Candoli's associations led to influential roles in ensembles. He provided on Stan Kenton's ambitious City of (1951), arranged by Bob Graettinger, where his precise phrasing the 's textures amid the orchestra's sections. With Howard Rumsey's All-Stars, Candoli featured on Sunday , Vol. 5 (1954), contributing fiery solos to the group's cool improvisations during their extended sessions at the . He also participated in Sinatra's studio sessions in the mid-1950s, including orchestral dates for where his added subtle flair to vocal arrangements. In the 1960s, Candoli supported Gerry Mulligan's on their debut album The Concert Jazz Band (1960), recorded live at the , where he took standout trumpet solos on charts like "Bweebida Bobbida" alongside Bob Brookmeyer's . From the 1970s through the 1990s, Candoli's studio prowess shone in television and tribute projects. He played trumpet with Supersax on their inaugural album Supersax Plays (1972), a five-saxophone homage to , where his solos amplified the ensemble's harmonized reinterpretations of Parker's repertoire. As a core member of Doc Severinsen's Tonight Show Band starting in 1968, Candoli contributed to numerous releases, including Volume 2 (1987), featuring his trumpet on big band standards like "Begin the Beguine" during the band's high-profile NBC broadcasts.

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