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Pete Candoli

Pete Candoli (June 28, 1923 – January 11, 2008) was an jazz trumpeter celebrated for his high-note lead playing, precision, and versatility across , studio, and small-group settings over a six-decade career. Born Walter Joseph Candoli in , he emerged as a self-taught prodigy, securing a union card before age 13 and performing local gigs before turning professional at 18. He died in Studio City, California, from , survived by his longtime partner Sheryl , two daughters, a sister, and two grandchildren. Candoli's early career took off in 1941 with Sonny Dunham's orchestra, followed by stints with major big bands including those of , , Les Brown, Woody Herman's First Herd—where he gained fame for demanding high-register solos like "Superman With a Horn"—, , and Count Basie. In 1944, he joined Herman's band, contributing to landmark performances such as the 1946 premiere of Igor Stravinsky's Ebony Concerto, where he played first trumpet. By the , after relocating to , he became a sought-after studio , appearing on over 5,000 recordings and collaborating with conductors like , , and , as well as artists including , , , and , for whom he also arranged and conducted. From 1957 to 1962, Candoli co-led a popular octet with his younger brother , another acclaimed trumpeter, and the siblings continued performing together into the 1990s, often showcasing their synchronized virtuosity. He earned prestigious accolades, including and awards for outstanding trumpet playing, recognition as one of the seven all-time great jazz trumpeters by and Look magazines, induction into the International Jazz Hall of Fame in 1997 alongside , and the Big Band Hall of Fame award in 2003. Beyond jazz, Candoli's influence extended to television—such as the house band for —film scores like Mancini's theme, and educational seminars at nearly 30 universities. His three marriages—to singer Vicky Lane (1953–1958), actress (1960–1967), and actress (1972–1989), with whom he performed a nightclub act—all ended in divorce.

Early life

Childhood and family

Walter Joseph Candoli, known professionally as Pete Candoli, was born on June 28, 1923, in , a small industrial city in St. Joseph County. He came from an Italian-American family; his parents were immigrants who had settled in the United States after , bringing with them a cultural heritage that included a strong emphasis on family and community ties within local enclaves. His father, Antonio Candoli, worked as a factory laborer in a rubber plant and was an amateur brass musician who played in a local and at an Italian social club, fostering an environment where music was valued as both recreation and potential economic uplift. The Candoli family navigated the hardships of the , a period when Indiana's manufacturing economy suffered severe downturns, with unemployment rates soaring and many working-class households like theirs relying on steady but low-wage factory jobs for survival. Despite these socioeconomic pressures, encouraged his sons to pursue music, viewing it as a pathway to stability and opportunity beyond the uncertainties of industrial labor. Pete's younger brother, Secondo Candoli (born July 12, 1927, and later known as ), shared this early familial exposure to music; the brothers often played their father's horns together, bonding over brass instruments in the modest family home amid Mishawaka's tight-knit immigrant community. At the age of 13, Pete's musical aptitude led his father to sign him up as a member of the (AFM), making him the youngest member in the union's history at that time and marking an early formal step into the professional world of . This support from his family, rooted in their Italian-American traditions and the era's economic realities, laid the groundwork for Pete's lifelong dedication to the .

Musical beginnings

Born in , in 1923, Pete Candoli demonstrated early musical aptitude, becoming proficient on instruments such as the bass and by age 12. Encouraged by his father, who played in a local , Candoli switched to the around age 13, teaching himself the instrument through dedicated practice without formal instruction. His rapid progress on the trumpet allowed him to join the (AFM) at age 13 in 1936, becoming the youngest member at the time after his father signed the necessary paperwork. Candoli's initial performances were local semi-professional engagements in during the late , where he played at community events including weddings, dances, and halls around Mishawaka. These opportunities, starting as early as age 13, honed his skills in a supportive family environment filled with instruments like the and , fostering his development as a trumpeter before transitioning to national tours around 1940. By the end of the decade, these experiences had solidified his foundational techniques and performance routines, preparing him for broader professional avenues.

Professional career

Big band associations

Candoli began his professional big band career in 1940 at age 17, joining the Sonny Dunham Orchestra as a trumpeter after a summer gig with a college band, where he played lead and jazz parts at venues like Frank Dailey's Meadowbrook. He soon moved to larger ensembles, briefly serving as lead trumpeter with the Tommy Dorsey Orchestra around 1941, replacing Ziggy Elman for a six-month stint at the Hollywood Palladium and appearing in films such as Girl Crazy. From 1944 to 1946, Candoli was a key member of Woody Herman's "First Herd," a pivotal swing-era band known for its energetic dynamics and improvisational flair. Recruited in midsummer 1944, he played first and contributed high-note solos that highlighted his powerful, flamboyant style, notably in arrangements like "Wild Root" and the climactic section of "Apple Honey." He also brought his younger brother Conte into the band at age 16 for the summer, enhancing the trumpet section's versatility during live performances and broadcasts. In the early 1950s, Candoli joined Stan Kenton's progressive jazz orchestra for a tenure from 1954 to 1956, where he played alongside Conte and navigated the band's complex, technically demanding arrangements by . His role emphasized high-note precision in the section, contributing to innovative recordings that pushed the boundaries of sound with bold harmonies and rhythmic intensity. Candoli also had shorter associations with other prominent bands, including stints with from 1947 to 1949 and from 1950 to 1951, Les Brown in 1952, and during the 1940s. These experiences in the post-World War II scene, amid declining commercial viability, honed his improvisational technique and adaptability across 27 to 28 name orchestras, fostering a versatile style suited to both lead and solo roles.

Studio and film work

In the early 1950s, Pete Candoli relocated to , where he quickly established himself as one of the city's premier session trumpeters, particularly for . His experience provided the foundational high-note precision and ensemble discipline that proved invaluable in the demanding studio environment. By the mid-1950s, he was a first-call musician for major arrangers such as , , and , contributing to hundreds of commercial recordings that blended jazz improvisation with polished orchestral arrangements. Candoli's film and television work became a cornerstone of his career, showcasing his versatility in lead trumpet roles for Hollywood soundtracks. He performed prominently on Elmer Bernstein's score for the 1955 film The Man with the Golden Arm, delivering standout trumpet solos that infused the jazz-inflected cues with raw energy. For Henry Mancini's iconic Peter Gunn television series (1958–1961), Candoli played trumpet on key tracks of the soundtrack album, including the theme, helping define the cool jazz aesthetic of the show. He also contributed to the M Squad TV series soundtrack in 1959, arranged and conducted by Stanley Wilson, where his trumpet work supported the program's tense, noir-inspired themes. Over his career, Candoli appeared on more than 500 film scores, adapting his jazz phrasing to meet the precise demands of orchestral settings while maintaining a distinctive improvisational flair. During the 1950s and 1960s, Candoli's studio collaborations with vocalists like and highlighted his ability to elevate pop and standards. On Lee's 1956 album (Decca), he recorded under the pseudonym Cootie Chesterfield due to contractual obligations with , providing that underscored the smoky, intimate vibe of tracks like the title song. With Cole, Candoli appeared on numerous sessions, including the 1956 album After Midnight and the 1960 release Wild Is Love, where his bright, agile leads complemented Cole's velvety phrasing on songs such as "Just One of Those Things." These recordings exemplified Candoli's technique of seamlessly integrating expressiveness into commercial contexts, solidifying his status as a go-to studio artist.

Collaborations and later projects

In the late 1950s, Pete Candoli reunited with his younger brother, trumpeter , to form the Candoli Brothers band, which recorded the album The Brothers Candoli for in 1957, featuring originals like "Bell, Book and Candoli" alongside standards arranged by Pete. The duo co-led the group through the early 1960s, performing small-group that highlighted their synchronized trumpet lines and bebop-inflected solos, with bassist contributing on several tracks. They toured intermittently during this period, emphasizing settings that blended high-energy improvisation with relaxed grooves. Candoli's small-group work extended to key West Coast collaborators, including drummer and bassist , with whom he recorded in sessions like Quincy Jones's Go West, Man! (1957) and live performances at venues such as Waldos in 1959, where their interplay showcased rhythms and melodic phrasing. In the 1970s, Candoli participated in short revivals with Stan Kenton's orchestra, reuniting with his brother for arrangements by that revived the band's progressive jazz sound. These collaborations underscored Candoli's versatility, transitioning from big-band lead roles to more intimate ensemble dynamics. In later decades, Candoli shifted toward teaching and selective performances, serving as a musical adviser at Lionel Hampton's School of Music at the , where he mentored students on trumpet technique and into the 1990s. He made occasional appearances, including annual gigs at the club with Hampton and a performance at the Aurex Jazz Festival in in 1981, favoring relaxed small-group settings over his earlier studio intensity. Throughout his career evolution, Candoli incorporated elements—such as rapid scalar runs inspired by —into frameworks, evident in his flamboyant high-note flurries and dissonant phrasing on albums like The Brothers Candoli. This stylistic blend sustained his contributions to partnerships well into retirement.

Personal life

Marriages and family

Pete Candoli's first marriage was to Vicky Lane in 1953, during his burgeoning career as a studio musician in , where their paths likely crossed in the entertainment industry. The couple had one daughter, Tara Candoli, born in 1954. They divorced in 1958 after five years together. His second marriage, to actress and singer , took place on December 24, 1960, amid Hutton's transition from film stardom to other pursuits following her peak in the and . The union produced a daughter, Carolyn Candoli, born in 1962, but lasted only until their divorce in 1967. Candoli's third marriage was to singer and actress in 1972, forming a longer-lasting partnership that endured until their divorce in 1988. The couple collaborated professionally, developing a in the 1970s where Candoli not only played but also sang, danced, and directed the , providing mutual support in their shared world. This marriage integrated seamlessly with Candoli's career, allowing joint tours that blended their talents, though it ended amicably without children from the union. After his divorces, Candoli was in a longtime relationship with Sheryl . Throughout his marriages, all to fellow entertainers, Candoli maintained a family life intertwined with his professional demands, raising daughters and amid frequent studio sessions and tours. He remained close to his brother Conte Candoli's family, including niece Marcia, reflecting enduring sibling bonds that complemented his spousal relationships.

Health and death

In his later years, Pete Candoli's performing schedule diminished, with a low profile and occasional appearances alongside his brother Conte into the . He continued selective engagements through the until health issues curtailed his activity further. Candoli died on January 11, 2008, at the age of 84 in Studio City, California, from . He passed away at home with his loving family by his side. Services were held on January 22, 2008, at 3:00 p.m. at Forest Lawn Hollywood Hills, attended by immediate family including his partner Sheryl Deauville, daughters Tara and Carolyn, two grandchildren, and sister Gloria Henke.

Legacy

Awards and recognition

Throughout his career, Pete Candoli received numerous accolades from prominent jazz publications for his virtuosic trumpet playing. In 1946, he was awarded the Down Beat, Metronome, and Esquire "All American Band Trumpet Bronze Award," recognizing his emerging talent as a high-note specialist during the big band era. That same year, Esquire magazine selected him as one of its "new stars," highlighting his innovative bebop-infused style. Additionally, in the 1950s, Look magazine named Candoli one of seven all-time outstanding jazz trumpeters, alongside legends such as Louis Armstrong, Bix Beiderbecke, Harry James, Bunny Berigan, Roy Eldridge, and Chet Baker. Candoli's lifetime contributions to jazz were formally honored in his later years. In 1997, he and his brother Conte were inducted into the International Jazz Hall of Fame, acknowledging their combined influence on jazz trumpet performance and big band innovation. This induction celebrated Candoli's pioneering role in and his technical prowess. Six years later, in 2003, he was individually enshrined in the Hall of Fame, further affirming his enduring impact on the genre's ensemble traditions.

Influence and tributes

Pete Candoli's technical prowess as a high-range er and his incorporation of phrasing significantly influenced subsequent generations of musicians, earning him recognition as one of the all-time greats alongside figures like and . His ability to deliver screaming high notes with showmanship, often while performing in a costume during the , exemplified a blend of virtuosity and entertainment that shaped the expectations for lead roles in big bands and beyond. This style, honed through his work with Woody Herman's First Herd, contributed to the evolution of technique in the postwar era. Candoli's versatility bridged the tradition with the demands of studio , profoundly impacting the scene after his relocation to in the . As a prolific , he recorded on landmark albums for artists like , , and , while also contributing to film scores such as Henry Mancini's theme, which helped define the cool, laid-back sound of . His dual expertise in lead playing for ensembles like Stan Kenton's orchestra and improvisational solos in small groups, often alongside his brother Conte, demonstrated a adaptability that influenced the hybrid nature of the region's landscape. In his later years, Candoli extended his legacy through teaching and mentorship, conducting clinics and offering guidance to emerging musicians during the and . He participated in educational sessions at events like the Jazz Festival, where he shared insights on technique and performance with students and young professionals. These efforts, combined with informal advice drawn from his extensive career, helped nurture the next wave of West Coast players navigating the transition from traditional to contemporary studio work. Following his death in 2008, Candoli received widespread posthumous recognition, including detailed obituaries in major publications that highlighted his enduring contributions to . The New York Times praised his role as a high-note specialist and studio mainstay, while the Los Angeles Times noted his iconic status in history and his influence on the sound. Dedications appeared in jazz festivals, such as commemorative performances at the Jazz Festival, underscoring his impact on the genre.

Discography

As leader

Pete Candoli's work as a leader primarily occurred in small ensemble settings, showcasing his virtuosic playing within the frameworks of and . His leadership discography emphasizes melodic improvisation, tight rhythmic grooves, and collaborative arrangements that highlighted both his technical prowess and the talents of top session musicians. These recordings often featured swinging standards and originals, reflecting the laid-back yet energetic style associated with the jazz scene. One of Candoli's earliest efforts as co-leader came with his brother Conte on the 1957 album The Brothers Candoli, released on as part of the Jazz Horizons series. Recorded in over three sessions in May 1957, the album featured the Candoli Brothers Sextet with personnel including on piano, on guitar, on bass, and on drums. The arrangements, crafted to accentuate the siblings' harmonious lines and call-and-response interplay, blended energy with West Coast coolness on tracks like "Fascinating Rhythm" and "Crazy Rhythm," underscoring their familial synergy and shared improvisational flair. In 1960, Candoli stepped forward as sole leader for For Pete's Sake on , leading a and octet that captured the essence of through sophisticated charts and buoyant rhythms. Arrangements by dominated the session, with key personnel such as on bass, and Milt Holland on drums, Ted Nash and Bill Perkins on , Harry Klee and Ronnie Lang on flute, and Bobby Gibbons on guitar, and Red Norvo on . The album's repertoire, including reharmonized standards like "Jeepers Creepers" and "," allowed Candoli to explore lyrical phrasing and high-register pyrotechnics, establishing his command in directing small-group dynamics. Candoli reunited with Conte as co-leaders for the 1978 Candoli Brothers on Dobre Records, a project that revisited their sibling chemistry in a more mature, post-bebop context. Backed by Lou Levy on , Joe DiOrio on guitar, Fred Atwood on bass, and John Dentz on drums, the recording emphasized unison lines and traded solos on tunes that fused swing with subtle explorations, demonstrating the brothers' enduring interplay and Candoli's evolution toward broader harmonic palettes. Later in his career, Candoli's turned to intimate small combos, as heard on his solo outing From the Top (paired in reissues with the brothers' album), where he led a with Lou Levy on , Fred Atwood on , and John Dentz on . This session marked a stylistic shift toward stripped-down, conversational rooted in standards, allowing Candoli's warm tone and inventive phrasing to shine in a chamber-like setting that echoed traditions while nodding to hard bop's improvisational depth. His recordings overall prioritized ensemble cohesion and thematic invention over flash, contributing to the rich tapestry of mid-century American .

1940s Swing Era Contributions

Pete Candoli began his prominent sideman role in the swing era during the mid-1940s, joining Woody Herman's First Herd in 1944 at age 21, where his powerful trumpet solos helped define the band's energetic sound. He appeared on key recordings like "Blowin' Up a Storm" from the 1945 Columbia sessions, showcasing his flamboyant style alongside saxophonist Flip Phillips and trombonist Bill Harris. Other notable Herman contributions include tracks from The Complete Columbia Recordings of Woody Herman (1945-1947), such as those featuring the band's "Four Brothers" saxophone section.

1950s Cool Jazz and Studio Sessions

Transitioning to the scene in the , Candoli worked with 's orchestra from 1954 to 1956, contributing to albums like Popular Favorites by Stan Kenton (1953) and This Modern World (1953), where his trumpet added intensity to Kenton's progressive arrangements. He also played on Kenton in Hi-Fi (1956), highlighting his role in the band's high-fidelity recordings. In 1952, Candoli joined Les Brown's Band of Renown briefly, appearing on live and studio tracks that blended with emerging pop elements. His studio work included Peggy Lee's (1953), where his muted trumpet complemented Lee's vocals on standards like "Black Coffee" and "Easy Living," creating a moody atmosphere with pianist . Candoli continued with on 1955 Capitol sessions, such as those arranged by . By the late , he collaborated with Glen Gray's recreated Orchestra on Sounds of the Great Bands! (1958), evoking nostalgia through re-recorded classics. A highlight was his feature on Henry Mancini's (1959), delivering raw trumpet solos on the TV soundtrack's title theme and "Session at Pete's Pad."

1960s Pop-Jazz Crossovers

In the 1960s, Candoli's sideman efforts shifted toward pop-jazz fusions, continuing with Glen Gray through 1963 on albums like Songs and Sounds from the Era of the Untouchables (1960), where his trumpet enhanced the band's thematic arrangements. He also contributed to Nat King Cole's later sessions, including the Billy May-arranged tracks compiled on The Complete Billy May Sessions (covering 1950s-1960s material), adding brass flair to Cole's vocal hits. These recordings exemplified Candoli's versatility in bridging jazz improvisation with commercial pop orchestration during the era's crossover trends.

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