Pete Candoli was an American jazz trumpeter and the brother of trumpeter Conte Candoli. He played with the big bands of Woody Herman, Stan Kenton, many others, worked extensively in the studios of the recording and television industries. Candoli's professional career began at the age of 13, when he became a member of the American Federation of Musicians, he found a spot as lead trumpeter, by 1940 had become a part of Sonny Dunham's band. In 1941 he left the band to replace Ziggy Elman of the Tommy Dorsey band. During this time the band performed in three films, Las Vegas Nights, Girl Crazy and Upbeat in Music. In 1944 Candoli joined the Teddy Powell band. After 1945, Candoli worked with several bands including notably that of Stan Kenton, he drifted into the "West Coast Jazz" and studio scenes. Despite his range, he played lead, reserved instead for feature roles, he became a favorite collaborator of many influential musicians and performers, including Peggy Lee, Henry Mancini, Frank Sinatra, was sought for studio work.
In 1957, Pete and Conte reunited to form the Candoli Brothers band. Candoli was featured prominently on the DePatie-Freleng Enterprises cartoon series The Ant and the Aardvark, which utilized a jazz score for its theme and musical cues, he made a guest appearance on a 1957 episode of The Adventures of Ozzie and Harriet, during which Ricky sang the first song of his recording career. Ozzie, Harriet and Ricky all sang in a vocal quartet, he was inducted into The International Jazz Hall of Fame in 1997. He was inducted into the "Big Band Hall of Fame" in 2003, he won the Down Beat, Esquire "All American Band Trumpet Bronze Award". Look magazine named him one of the seven all-time outstanding jazz trumpet players—the others being Louis Armstrong, Bix Biederbecke, Harry James, Bunny Berigan, Dizzy Gillespie and Bobby Hackett. Candoli's use of staccato was rare among modern jazz trumpeters. Despite his reputation for his high-note ability, he used it unless called for by the conductor, band leader, or composer.
More his solos began with low-to-mid-register staccato riffs which built into rolling cadenzas and ending, when appropriate, in high-note, bravura climaxes. Strong evidence of his restraint can be found in his work on Peggy Lee's "Black Coffee", one of the first 33⅓ rpm long-play vocal albums, he appears on all of the original 10" tracks. Candoli married several times to other musicians, including singer-actress Betty Hutton and singer Edie Adams, he had two daughters, Tara Clair from singer-actress Vicky Lane, Carolyn with Betty Hutton. In 1980, the trumpeter Jack Sheldon jokingly said, "I get a lot of my work playing at Pete Candoli's weddings. He's married a lot of people,", said in jest because Pete was married no more than three times and had lived his last 18 years loyally with his partner Sheryl Deauville Candoli. Pete and his younger brother Conte, who achieved a stronge critical reputation worked together in anonymous recording gigs and in several joint albums on labels like Warner Bros.
Dot Records and Mercury. Both brothers were diagnosed with prostate cancer in life. Pete Candoli died of complications from prostate cancer on January 11, 2008, at the age of 84. Conte Candoli died of the disease in 2001. With Elmer Bernstein The Man with the Golden Arm Sweet Smell of Success With Buddy Bregman Swinging Kicks With Conte Candoli The Candoli Brothers With Pete Candoli Quartet From the Top With Bob Cooper Coop! The Music of Bob Cooper With Fred Katz Folk Songs for Far Out Folk Fred Katz and his Jammers With Stan Kenton Popular Favorites by Stan Kenton This Modern World Kenton in Hi-Fi With Junior Mance Get Ready, Jump!!! Straight Ahead! Under the direction of D. L. Miller Blues, when your lover has gone With Gerry Mulligan Gene Norman Presents the Original Gerry Mulligan Tentet and Quartet With Shorty Rogers Cool and Crazy Shorty Rogers Courts the Count Martians Come Back! Way Up There Shorty Rogers Plays Richard Rodgers Portrait of Shorty Chances Are It Swings The Wizard of Oz and Other Harold Arlen Songs With Pete Rugolo Introducing Pete Rugolo Adventures in Rhythm Rugolomania New Sounds by Pete Rugolo Music for Hi-Fi Bugs Out on a Limb An Adventure in Sound: Brass in Hi-Fi The Music from Richard Diamond Behind Brigitte Bardot Ten Trumpets and 2 Guitars With Dan Terry The Complete Vita Recordings of Dan Terry With Mel Torme Mel Torme Sings Fred Astaire Memorium on AllAboutJazz.com Pete Candoli at AllMusic Pete Candoli discography at Discogs Pete Candoli on IMDb Pete Candoli at Find a Grave Template:Http://www.candoli.com
Slingerland Drum Company
Slingerland is an American drum kits brand owned by Gibson. The brand is related to jazz drummers, such as Gene Krupa or Buddy Rich, who used to play signature instruments made by the company. Slingerland produced electric and acoustic guitars and banjos during the 1930s; the "Slingerland Drum Company" was founded by Henry Heanon "H. H." Slingerland in 1912. Slingerland had won a correspondence school of music in a card game aboard one of the gaming boats that once cruised Lake Michigan, he opened a music school in Chicago, soon turned to manufacturing instruments as well. The company started out importing ukuleles from Germany, but set up its own production because it could not meet demand. Soon, they produced their own banjos and ukuleles and also guitars. Production of drums was started in 1927 in answer to the entry of the Ludwig & Ludwig drum company into the banjo market; the first Slingerland drum kits came out in 1928. A resourceful and energetic businessman, H. H. established an extensive dealer network throughout the U.
S. the then-territory of Hawaii and China. After H. H.'s death from a stroke, the company was run by his wife and one of their children, Henry Jr.. The company's manufacturing plant was moved from Chicago proper to the outer suburbs; the Slingerland company, best known as a drum manufacturer made guitars and banjos. The Songster electric guitar, featured in a 1939 company catalog, pre-dates Les Paul's "log" guitar and is the earliest Spanish-style solid-body electric guitar model; the guitar's pickup includes individual string magnets as well as a large horseshoe magnet. Slingerland ceased making electric instruments in 1940 in order to focus on producing percussion instruments; the company remained in the Slingerland family until 1970. After introducing the Magnum series in the late 1970s, Slingerland lost its footing, the company folded. In the 1970s and 1980s, Slingerland changed ownership multiple times until it was acquired from Gretsch by the Gibson musical instruments company in 1994; the final nail in Slingerland's coffin, was demand by Gibson, that in order to become a Slingerland dealer, music stores had to carry Gibson guitars.
This was not feasible for the "Mom & Pop" music stores, who couldn't afford to carry both lines, given the stratospheric costs. In 1998, Slingerland released a model based on its Gene Krupa signature drum kit. Slingerland's most famous product line is the Radio King series of drums; these drums were introduced in 1936-'37, remained Slingerland's flagship snare drums and drum sets until 1957, when the Radio King model disappeared from the product line. Between 1960 and 1962, Radio Kings were reintroduced and remain the premier product for the Slingerland Drum Company. Older Radio Kings are obsessively collected by vintage drum enthusiasts. Gene Krupa and Buddy Rich were both Radio King endorsers; the original Radio King snare drum is distinguished by its construction: rather than several plies of mahogany, like most snare drums of the era, a Radio King drum is created from a single piece of steam-bent maple with solid maple reinforcement rings, which assist in keeping the drum round under the pressure of the metal hardware attached to it, along with the wear and tear drums are exposed to.
Single-ply wood drums are known for bright tone. Radio King bass drums and tom-toms were made with maple reinforcement hoops; these drums are known for their "thuddy" sound. The popularity of the old Slingerland Radio King snare drum is evidenced by a myriad of professional drummers who still use the snare in 2017, despite endorsing other brands. A departure from the standard Slingerland product line occurred during World War II, when wood was used to manufacture drum parts that had traditionally been made of brass, chrome and steel; this was due to high demand for metals needed for the war effort. These drums were named the "Rolling Bomber" series, are collectible; the Rock and Roll era of the 1960s and 1970s was a good time for many American drum companies, including Slingerland. Slingerland's main competitor, the Ludwig Drum Company, had the advantage of being endorsed by Ringo Starr, but Slingerland, produced high-quality drums in that era and had robust sales. Beside long time endorser Buddy Rich, Slingerland in the 1970s garnered drummers Danny Seraphine with Chicago and Nigel Olsson still playing with Elton John.
Short lived. They stopped production after their introduction due to a patent infringement suit and a cease and desist warrant from Ludwig regarding Slingerland's foray into acrylic drums; these drums today remain quite collectible. Slingerland marching drums were produced as early as the 1920s. By the 1970s, the Slingerland line of marching equipment had become popular in marching bands and drum corps. During the late 1970s, Slingerland introduced its TDR marching snare drum, with a novel strainer and synthetic-gut snare that produced a distinctive sound. Another late-70s innovation was the Slingerland cutaway multi-tenors that were carried in trio, quad, or quint arrangements; the cutaway design was first used in 1977 by the Santa Clara Vanguard under drum captain Fred Sanford and the Oakland Crusaders under Tom Float. Famous drum corps such as the 27th Lancers of Revere, Massachusetts under Charlie Poole, the Bridgemen of Bayonne N. J. under Dennis Delucia, the Chicago Cavaliers under Gus Barbaro and Brian Callahan, the Pittsburgh Royal Crusaders and the General Butler Vagabonds all used Slingerland equipment in t
Jonathan David Samuel Jones was an American jazz drummer. A band leader and pioneer in jazz percussion, Jones anchored the Count Basie Orchestra rhythm section from 1934 to 1948, he was sometimes known as Papa Jo Jones to distinguish him from younger drummer Philly Joe Jones. Born in Chicago, Jones moved to Alabama, where he learned to play several instruments, including saxophone and drums, he worked as a drummer and tap-dancer at carnival shows until joining Walter Page's band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, joined pianist Count Basie's band in 1934. Jones, guitarist Freddie Green and bassist Walter Page were sometimes billed as an "All-American Rhythm section," an ideal team. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948, he participated in the Jazz at the Philharmonic concert series. He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal.
Jones had a major influence on drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, Louie Bellson. He starred in several films, most notably the musical short Jammin' the Blues. Jones performed in years at the West End jazz club at 116th and Broadway in New York City; these performances were very well attended by other drummers such as Max Roach and Roy Haynes. In addition to his artistry on the drums, Jones was known for his combative temperament. In contrast to drummer Gene Krupa's loud, insistent pounding of the bass drum on each beat, Jones omitted bass drum playing altogether. Jones continued a ride rhythm on hi-hat while it was continuously opening and closing instead of the common practice of striking it while it was closed. Jones's style influenced the modern jazz drummer's tendency to play timekeeping rhythms on a suspended cymbal, now known as the ride cymbal. In 1979, Jones was inducted into the Alabama Jazz Hall of Fame for his contribution to the Birmingham, Alabama musical heritage.
Jones was the 1985 recipient of an American Jazz Masters fellowship awarded by the National Endowment for the Arts. His autobiography, entitled Rifftide: The Life and Opinions of Papa Jo Jones and based on conversations between Jones and novelist Murray from 1977 to before Jones' death in 1985, was posthumously published in 2011 by the University of Minnesota Press. Known as Papa Jo Jones in his years, he is sometimes confused with another influential jazz drummer, Philly Joe Jones; the two died only a few days apart. Jones died of pneumonia in New York City at the age of 73. 1955: The Jo Jones Special 1957: The Coleman Hawkins, Roy Eldridge, Pete Brown, Jo Jones All Stars at Newport 1958: Jo Jones Trio-The Everest Years 1959: Jo Jones Plus Two 1960: Percussion and Bass 1960: Jo Jones Sextet 1969-1975: Smiles 1973: The Drums 1976: The Main Man 1985: Our Man, Papa Jo! With Gene Ammons All Star Sessions With Mae Barnes Mae Barnes, Jo Jones, Buck Clayton, Ray Bryant With Count Basie The Original American Decca Recordings Count Basie at Newport With Art Blakey Orgy in Rhythm Drum Suite With Bob Brookmeyer Whooeeee - The Zoot Sims-Bob Brookmeyer QuintetWith Ray Bryant Ray Bryant Trio With Milt Buckner Midnight Slows, Volume 4 Midnight Slows, Volume 5 With Joe Bushkin Joe Bushkin,Jo Jones,Buck Clayton With Buck ClaytonThe Huckle-Buck and Robbins' Nest How Hi the Fi Jumpin' at the Woodside All the Cats Join In With Blossom Dearie Blossom Dearie, Jo Jones, Ray Brown With Roy Eldridge Dale's Wail With Duke Ellington & Johnny Hodges Side by Side With Ella Fitzgerald Ella at the Opera House With Freddie Green Mr. Rhythm With Coleman HawkinsTimeless Jazz The Hawk Flies High With Woody Herman Songs for Hip Lovers With Illinois Jacquet Swing's the Thing The King!
With Budd JohnsonBlues a la Mode With Thad Jones The Jones Boys with Jimmy Jones, Eddie Jones and Quincy JonesWith Charles Mingus Newport Rebels With Oscar Peterson The Oscar Peterson Trio with Sonny Stitt, Roy Eldridge and Jo Jones at Newport With Paul Quinichette For Basie Basie Reunion Like Basie! With Sonny Stitt Sonny Stitt Plays Arrangements from the Pen of Quincy Jones With Buddy TateSwinging Like Tate Midnight Slows, Volume 4 Midnight Slows, Volume 5 With Ben Webster Ben Webster and Associates With Dicky WellsBones for the King With Teddy Wilson The Creative Teddy Wilson - released as For Quiet Lovers I Got Rhythm The Impeccable Mr. Wilson These Tunes Remind Me of You With Lester Young The Jazz Giants'56 Pres and Teddy Jammin' the Blues The Unsuspected Jazz Icons: Coleman Hawkins-Live in 62 & 64 L´Aventure du Jazz Born to Swing The Last of the Blue Devils Jones, Jo. Rifftide: The Life and Opinions of Papa Jo Jones. University of Minnesota Press. ISBN 978-0816673018. Drummerworld biography with images and videos Jo Jones at All About Jazz Jo Jones at AllMusic Jo Jones discography at Dis
Roulette Records was an American record company and label founded in 1957 by George Goldner, Joe Kolsky, Morris Levy and Phil Kahl, with creative control given to producers and songwriters Hugo Peretti and Luigi Creatore. Levy was appointed director; the label had known ties to New York City mobsters. Levy ran the label with an iron fist. In 1958 Roost Records was purchased. Goldner subsequently bowed out of his partnership interest in Roulette and, to cover his gambling debts, sold his record labels Tico, Gee and — years — End and Gone to Levy, who grouped them into Roulette. Peretti and Creatore left Roulette and worked as freelance producers for RCA Records throughout the 1960s, they co-founded Avco Records in 1969. In 1971 Roulette took over the catalog of Jubilee Records. During the late 1950s, Roulette scored hits by Buddy Knox, Jimmy Bowen, The Playmates, Jimmie Rodgers, Ronnie Hawkins and The Delicates as well as releasing albums by Pearl Bailey, Dinah Washington and Count Basie. During the early 1960s, Roulette issued a number of hits connected to the twist dance craze, most notably "Peppermint Twist" by Joey Dee and the Starliters.
They released a rare album of "twist songs" by Bill Haley & His Comets, Twistin' Knights at the Roundtable. Other major 1960s hits. A group of United States Marines called The Essex recorded the hit "Easier Said Than Done" while based at Camp Lejeune, NC, in 1963. In 1964, Stephen Stills and Richie Furay first recorded together on Roulette while in the nine-member Au Go Go Singers, the house band for the Cafe Au Go Go in New York City. In the UK Roulette's records were issued on the EMI Columbia label. In April 1965 the UK music magazine NME reported that Roulette had agreed to offer a sponsored show to the UK pirate radio radio station Radio Caroline; the hour-long show, recorded in the US by disc jockey Jack Spector, was to be broadcast five evenings a week. The contract was worth over £ 10,000 to the station. According to Tommy James of Tommy James and the Shondells, whose "Hanky Panky", "I Think We're Alone Now", "Mirage", "Mony Mony", "Crimson and Clover" and many others were released during his time at the label, Roulette was a front business for the Genovese crime family.
James estimates that the label kept $30 million-$40 million of the group's royalties but afforded it total artistic freedom, whereas another label would have tampered with its formula and might have dropped the group early on. Throughout the 1960s and 1970s, Roulette was one of the industry's major distributors, handling records for many leading labels. Levy was the key financial backer for the rap music label Sugar Hill Records, founded in 1974 by the husband-and-wife team Joe and Sylvia Robinson. Sugar Hill released the first Top 40 rap single, "Rapper's Delight", in 1979. In the early 1980s, the Robinsons bought Levy out. In 1981, Henry Stone turned to Levy to help prevent the demise of TK Records, so they set up Sunnyview Records under the Roulette umbrella. In 1986, Levy was arrested and convicted for extorting money from an FBI informant, John LaMonte, but he died in Ghent, New York, before serving any time in prison. In 1989, Roulette Records was sold to a consortium of EMI and Rhino Records, the latter of, acquired by Warner Music Group.
Rhino would control Roulette’s pop catalogue in the USA, Canada and Mexico, while EMI acquired Roulette’s jazz catalogue worldwide, plus the international distribution of Roulette’s pop catalogue. As of 2013, Warner Music Group now has worldwide rights to the Roulette catalogue as a result of acquiring EMI’s Parlophone label. Following the acquisition, Rhino and EMI began issuing large royalty checks to former Roulette artists. Tommy James recalled that his checks were in amounts in seven digits. Roulette was notorious for not paying royalties to its artists, who had to rely on concerts and personal appearances for their income; until 2013, EMI used the Roulette name for the reissue of old Roulette-label material. In the US, Blue Note Records handled the Roulette jazz catalogue for release on the Roulette Jazz label until 2013, it was one of the units of Parlophone that Universal Music was required to sell to Warner Music Group to comply with international regulators. Roulette Records 25000 Popular Series of LP records began in 1957 and ran until 1968.
The Roulette 52000 Birdland Series of 12 inch LPs commenced in 1958 and consists of 124 album releases over 10 years. All of the soundtracks in this series were for films released in the United States during 1966. Reissue series from used by the label during 1973. All these albums have "Echoes of An Era" somewhere in the title, they are two-album sets. This was the label's final effort at repackaging its old recordings; these albums, which were acquired by Roulette for U. S. distribution, were recorded in the continent of Africa. These albums, which were acquired by Roulette for U. S. distribution, were recorded in the continent of Africa. List of record labels
Edward Kennedy "Duke" Ellington was an American composer and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than fifty years. Born in Washington, D. C. Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle and referred to his music as part of the more general category of American Music rather than to a musical genre such as jazz; some of the jazz musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in the idiom. Ellington melded them into the best-known orchestral unit in the history of jazz; some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote more than one thousand compositions.
Ellington recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", "Perdido", which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scored several, composed a handful of stage musicals. Ellington was noted for his inventive use of the orchestra, or big band, for his eloquence and charisma, his reputation continued to rise after he died, he was awarded a posthumous Pulitzer Prize Special Award for music in 1999. Ellington was born on April 29, 1899, to James Edward Ellington and Daisy Ellington in Washington, D.
C. Both his parents were pianists. Daisy played parlor songs and James preferred operatic arias, they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Duke's father was born in Lincolnton, North Carolina, on April 15, 1879, moved to Washington, D. C. in 1886 with his parents. Daisy Kennedy was born in Washington, D. C. on January 4, 1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy; when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the era's Jim Crow laws. At the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington's childhood friends noticed that his casual, offhand manner, his easy grace, his dapper dress gave him the bearing of a young nobleman, began calling him "Duke."
Ellington credited his friend Edgar McEntree for the nickname. "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt would come by on his horse sometimes, stop and watch us play", he recalled. Ellington went to Armstrong Technical High School in Washington, D. C, he gained his first job selling peanuts at Washington Senators baseball games. In the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, "Soda Fountain Rag", he created the piece by ear, as he had not yet learned to write music. "I would play the'Soda Fountain Rag' as a one-step, two-step, waltz and fox trot", Ellington recalled. "Listeners never knew. I was established as having my own repertoire." In his autobiography, Music is my Mistress, Ellington wrote that he missed more lessons than he attended, feeling at the time that playing the piano was not his talent.
Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument, he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, Harvey Brooks. Ellington began listening to, imitating ragtime pianists, not only in Washington, D. C. but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. He would sometimes hear strange music played by those who could not afford much sheet music, so for variations, they played the sheets upside down. Henry Lee Grant, a Dunbar High School music teacher, gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, improve his technique.
Ellington was inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. In New York he took advice from Will Marion Cook, Fats Waller, Sidney Bechet. Ellington started to play gigs in cafés and clubs in and aro
Secondo "Conte" Candoli was an American jazz trumpeter based on the West Coast. He played in the big bands of Woody Herman, Stan Kenton, Benny Goodman, Dizzy Gillespie, in Doc Severinsen's NBC Orchestra on The Tonight Show Starring Johnny Carson, he played with Gerry Mulligan, on Frank Sinatra's TV specials. He recorded with Supersax, a Charlie Parker tribute band that consisted of a saxophone quintet, the rhythm section, either a trumpet or trombone. Conte was the younger brother of trumpeter Pete Candoli, he was born in Mishawaka, Indiana, on July 12, 1927. During the summer of 1943, while at Mishawaka High School, Secondo "Conte" Candoli sat in with Woody Herman's First Herd. After graduating in 1945, he joined the band full-time, where he sat side by side with his brother Pete in the trumpet section. Conte went on the road, where he stayed for the next ten years, with Herman, Stan Kenton, Benny Goodman, Dizzy Gillespie. In 1954, after leaving Stan Kenton, Candoli formed his own group with sidemen Chubby Jackson, Frank Rosolino, Lou Levy.
He soon moved to Los Angeles to join the Lighthouse All-Stars with Shorty Rogers, Bud Shank, Bob Cooper, was with them for four years. Candoli's long relationship with The Tonight Show began in 1967 and he became a permanent fixture in the orchestra's trumpet section when Johnny Carson moved the show to Burbank, California in 1972. For many years he preferred to stay in California where he could do The Tonight Show, take all the studio work he wanted, do occasional concerts and clinics, he ventured to Kansas in 1986 as a WJF All-Star with Jerome Richardson, Barney Kessel and Monty Alexander at the 1986 Wichita Jazz Festival. After Carson's retirement in 1992, he traveled with Doc Severinsen, but still enjoyed his solo playing, his playing brought him performing and recording opportunities with top names in show business, such as Gerry Mulligan, Shelly Manne, Terry Gibbs, Teddy Edwards, Bing Crosby, Sammy Davis Jr. and Sarah Vaughan. He has appeared in many motion pictures with various orchestras and worked in all of Frank Sinatra's TV specials.
Candoli was inducted into The International Jazz Hall of Fame in 1997. He died of prostate cancer in Palm Desert, California. With Manny Albam and Ernie Wilkins The Drum Suite With Chet Baker Chet Baker Big Band With Louis Bellson Big Band Jazz from the Summit With Elmer Bernstein The Man with the Golden Arm With Buddy Bregman Swinging Kicks With Bob Cooper Coop! The Music of Bob Cooper With Sonny Criss Sonny's Dream With Teddy Edwards Feelin's with Victor Feldman Latinsville! With Maynard Ferguson Dimensions Maynard Ferguson Octet With Clare Fischer Manteca! Thesaurus With Gil Fuller Night Flight With Stan Getz West Coast Jazz With Stan Levey This Time The Drum's On Me With Dizzy Gillespie The New Continent With Stan Kenton Popular Favorites by Stan Kenton Sketches on Standards This Modern World Portraits on Standards The Kenton Era Kenton / Wagner The Innovations Orchestra With Shelly Manne Shelly Manne & His Men Play Peter Gunn Ruth Price with Shelly Manne & His Men at the Manne-Hole with Ruth Price Live!
Shelly Manne & His Men at the Manne-Hole Shelly Manne & His Men Play Checkmate My Fair Lady with the Un-original Cast Manne–That's Gershwin! Boss Sounds! Jazz Gunn Perk Up With Jack Montrose Jack Montrose Sextet With Frank Morgan Frank Morgan With Gerry Mulligan The Concert Jazz Band Gerry Mulligan and the Concert Jazz Band on Tour With Joe Newman Salute to Satch With Jack Nitzsche Heart Beat With Anita O'DayCool Heat With Art Pepper Gettin' Together With Betty Roché Take the "A" Train With Shorty Rogers Martians Come Back! Way Up There Shorty Rogers Plays Richard Rodgers Portrait of Shorty Chances Are It Swings The Swingin' Nutcracker An Invisible Orchard With Pete Rugolo Ten Trumpets and 2 Guitars With Bud Shank Windmills of Your Mind With Lalo Schifrin Jazz Suite on the Mass Texts with Paul Horn More Mission: Impossible Mannix With Gerald Wilson The Golden Sword With Pete Candoli The Candoli Brothers Conte Candoli at AllMusic Conte Candoli discography at Discogs Conte Candoli on IMDb Conte Candoli at Find a Grave Conte Candoli Collection, part of the International Jazz Collections at the University of Idaho Library
Benjamin David Goodman was an American jazz clarinetist and bandleader known as the "King of Swing". In the mid-1930s, Goodman led one of the most popular musical groups in the United States, his concert at Carnegie Hall in New York City on January 16, 1938 is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's'coming out' party to the world of'respectable' music."Goodman's bands started the careers of many jazz musicians. During an era of racial segregation, he led one of the first integrated jazz groups, he performed nearly to the end of his life. Goodman was the ninth of twelve children born to poor Jewish emigrants from the Russian Empire, his father, David Goodman, came to America in 1892 from Warsaw in partitioned Poland and became a tailor. His mother, Dora Grisinsky, came from Kovno, they met in Baltimore and moved to Chicago before Goodman's birth. With little income and a large family, they moved to the Maxwell Street neighborhood, an overcrowded slum near railroad yards and factories, populated by German, Italian, Polish and Jewish immigrants.
Money was a constant problem. On Sundays, his father took the children to free band concerts in Douglas Park, the first time Goodman experienced live professional performances. To give his children some skills and an appreciation for music, his father enrolled ten-year-old Goodman and two of his brothers in music lessons at the Kehelah Jacob Synagogue. During the next year Goodman joined the boys club band at Hull House, where he received lessons from director James Sylvester. By joining the band, he was entitled to spend two weeks at a summer camp near Chicago, it was the only time. He received two years of instruction from classically trained clarinetist Franz Schoepp; when he was 17, his father was killed by a passing car after stepping off a streetcar. His father's death was "the saddest thing that happened in our family", Goodman said, he attended Lewis Institute in 1924 as a high-school sophomore and played clarinet in a dance hall band. His early influences were New Orleans jazz clarinetists who worked in Chicago, such as Jimmie Noone, Johnny Dodds, Leon Roppolo.
He learned becoming a strong player at an early age, soon playing in bands. He made his professional debut in 1921 at the Central Park Theater on the West Side of Chicago, he entered Harrison Technical High School in Chicago in 1922. At fourteen he became a member of the musicians' union and worked in a band featuring Bix Beiderbecke. Two years he joined the Ben Pollack Orchestra and made his first recordings in 1926. Goodman moved to New York City and became a session musician for radio, Broadway musicals, in studios. In addition to clarinet, he sometimes played alto baritone saxophone. In a Victor recording session on March 21, 1928, he played alongside Glenn Miller, Tommy Dorsey, Joe Venuti in the All-Star Orchestra directed by Nathaniel Shilkret, he played with the bands of Red Nichols, Ben Selvin, Ted Lewis, Isham Jones and recorded for Brunswick under the name Benny Goodman's Boys, a band that featured Glenn Miller. In 1928, Goodman and Miller wrote "Room 1411", released as a Brunswick 78.
He reached the charts for the first time when he recorded "He's Not Worth Your Tears" with a vocal by Scrappy Lambert for Melotone. After signing with Columbia in 1934, he had top ten hits with "Ain't Cha Glad?" and "I Ain't Lazy, I'm Just Dreamin'" sung by Jack Teagarden, "Ol' Pappy" sung by Mildred Bailey, "Riffin' the Scotch" sung by Billie Holiday. An invitation to play at the Billy Rose Music Hall led to his creation of an orchestra for the four-month engagement; the orchestra recorded "Moonglow", which became a number one hit and was followed by the Top Ten hits "Take My Word" and "Bugle Call Rag". NBC hired for Goodman for the radio program Let's Dance. John Hammond asked Fletcher Henderson if he wanted to write arrangements for Goodman, Henderson agreed. During the Depression, Henderson disbanded his orchestra. Goodman hired Henderson's band members to teach his musicians. Goodman's band was one of three to perform on Let's Dance, playing arrangements by Henderson along with hits such as "Get Happy" and "Limehouse Blues" by Spud Murphy.
Goodman's portion of the program was broadcast too late at night to attract a large audience on the east coast. He and his band remained on Let's Dance until May of that year when a strike by employees of the series' sponsor, forced the cancellation of the radio show. An engagement was booked at Manhattan's Roosevelt Grill filling in for Guy Lombardo, but the audience expected "sweet" music and Goodman's band was unsuccessful. Goodman spent six months performing on Let's Dance, during that time he recorded six more Top Ten hits for Columbia. On July 31, 1935, "King Porter Stomp" was released with "Sometimes I'm Happy" on the B-side, both arranged by Henderson and recorded on July 1. In Pittsburgh at the Stanley Theater some members of the audience danced in the aisles, but these arrangements had little impact on the tour until August 19 at McFadden's Ballroom in Oakland, California. Goodman and his band, which included Bunny Berrigan, drummer Gene Krupa, singer Helen Ward were met by a large crowd of young dancers who cheered the music they had heard on Let's Dance.
Herb Caen wrote, "from the first note, the place was in an uproar." One night at Pismo Beach, the show was a flop, the band thought the overwhelming reception in Oakland had been a fluke. The next night, August 21, 1935, at the Palomar Ballroom in Los A