#Conte Candoli

[jazzdailyblog]

Shelly Manne: The Rhythmic Innovator of West Coast Jazz

Introduction: Shelly Manne stands as one of the most influential and versatile drummers in jazz history. With a career spanning over four decades, Manne’s contributions to the genre are immeasurable, particularly in the development of West Coast jazz. His inventive drumming, deep musicality, and ability to adapt to various styles made him a sought-after musician in both the jazz and film music…

[jazzplusplus]

1953 - Miles Davis, Dizzy Gillespie, Conte Candoli - Martin trumpets

[mutant-what-not]

Regarded as the ‘Master of the Walking Bass,’ Leroy Vinnegar was a mainstay on jazz recording sessions from 1952 on where he was on over 600 dates. His signature walking bass was the foundation for his impeccable sense of swing, which has gone on to influence several generations of players.

Vinnegar was born into a musically inclined family in Indianapolis, Indiana, on July 13, 1928. His earliest musical education came from the radio, on which he listened religiously to the great bands of Duke Ellington and Count Basie. His two sisters played piano, and young Leroy thought that might be his instrument as well. “I tried my hand at piano,” he says, “and I would have been a nice piano player, had I stayed with it.” Things changed when he actually started playing with others, however. “The bass player used to leave his instrument at the house after we’d rehearse,” Vinnegar remembers, “and I just started messing with it, and the next thing you know I was playing the bass. We just got a communication going.”

When he was about 24, Vinnegar considered pursuing his muse on a grander scale. “I was getting ready to make my push,” he recalls. “I knew I had to get out of Indianapolis, so I could get my music career started. There were good musicians in Indianapolis, but I wanted to move up the ladder, so I figured I’d move to Chicago and tune up, and then I would go to New York.” That was 1952, and Vinnegar was shocked to discover that the Windy City was something far more challenging than a momentary stopover. “Little did I know Chicago was just as fast as New York,” he recollects with another hearty laugh. “I thought I would just go there and get ready for the big one. Little did I know I was walking into a lion’s den. They were there waiting for my ass.”

Vinnegar found himself to be “the tenth bass player on the totem pole” in a hierarchy of jazz bassists topped by Israel Crosby and Wilbur Ware. “When you’re new, you just have to wait your turn,” he says. But Vinnegar’s turn was not long in coming. “All the bass players were busy one week,” he remembers, “and somebody said, ‘Hey there’s a new bass player in town by the name of Leroy Vinnegar.’ ‘Well, how does he play, man?’ ‘They say he can play, you know?’ ‘Well, we ain’t heard him.’ ‘Let’s try him and see. There ain’t nobody else here we can get.’”

Soon, Vinnegar was playing in a band with Chicago’s great native tenor saxophonist Von Freeman, and then, with a brotherly boost from Israel Crosby, in the house rhythm section at the famous Bee Hive. There, he had the chance to work with Lester Young, Ben Webster, Johnny Griffin, Sonny Stitt, and others. “It’s hard to pinpoint a single influence,” Vinnegar says, “because everyone I played with or made a record with was such an influence on my career. But I think Art Tatum topped ’em all. He gave me such a nice compliment by wanting me to join his trio. I figured if Art Tatum asked me to join his trio, I must be doing something right.”

It was while playing with Bill Russo at the Blue Note, opposite Tatum, that Vinnegar was heard by the great pianist. “He heard me and wanted me to move to Los Angeles to join his trio,” the bassist recalls. “I was going to move anywhere.”

Shortly after he arrived in Southern California in 1954, Vinnegar insinuated himself indelibly into that scene. “They say it was much better in the ’40s, but for me, everything was happening,” he says, citing the L.A. presence of Dexter Gordon, Wardell Gray, Conte Candoli, Teddy Edwards, Frank Morgan, Hampton Hawes, Carl Perkins, Shorty Rogers, Zoot Sims, Stan Getz, Bud Powell, and many more. Ensconced again in a house rhythm section, this time at Jazz City, Vinnegar played regularly with pianists Kenny Drew, Carl Perkins, and Hampton Hawes, and drummers Lawrence Marable, Frank Butler, and for a while, Philly Joe Jones. He recorded with virtually everyone on the scene, formed a band with saxophonist Teddy Edwards, drummer Billy Higgins, and pianist Joe Castro, toured with Shelly Manne, and helped Les McCann put together his pioneering trio in 1960.

By then, at the urging of Contemporary’s Les Koenig, Vinnegar had already recorded his first albums as a leader"Leroy Walks!, in 1957, followed by Leroy Walks Again! “I was real nervous, wondering what I could do,” Vinnegar remembers. “Les said he wanted me to do songs that had the word ‘walk’ in them. That made it a little easier.”

The “walk,” of course, referred to the inimitably sturdy “walking” style that Vinnegar had perfected, a style he says came to him “because I couldn’t solo. I didn’t know the bass well enough, because I’d never studied it,” he elaborates. “I was just going by ear. I didn’t know the positions or the sound of the fiddle so whenever it got to me, I couldn’t solo and I just stayed right with the walking. It was a safe thing at the beginning, a sure shot, then it started developing into something. I found I had a lot of imagination for the walking bass.” That imagination had been fueled by singing bass in gospel choirs as a youngster, and it became invaluable for both Vinnegar and the musicians around him. “It gave other players a cushion to work off and it sort of woke up the bass players, too,” he says. “It gave people an understanding of what the bass could really do beyond going one, two, three, four.” Today, that understanding is as widespread as the respect that Vinnegar has garnered as the walking master.

Except for occasional recording sessions (such as Teddy Edwards’s breakthrough Mississippi Lad), festival appearances, and European tours, Vinnegar is content to play his regular gigs in Portland. “I’d been coming up to Oregon since 1973 and I fell in love with it,” he says. “Then I met some nice musicians up here and we started creating something, so I said I’ll stay right here. And I’m glad I did, because people up here accept real jazz.” And that’s what Vinnegar plays, with all the honesty and determination that “the Walker” has always embodied.

In 1995, the Oregon State Legislature honored him by proclaiming May 1 Leroy Vinnegar Day.

Leroy Vinnegar died August 3, 1999.

Source: AllAboutJazz/Wikipedia

[posttexasstressdisorder]

https://lefsetz.com/wordpress/2024/04/17/laquila/

Happy Birthday, Mr. Mancini...thanks for three of the biggest tunes of my younger years...and many more!

L’Aquila

We’re here for a hundredth birthday concert for Henry Mancini.

L’Aquila is somewhere between one and two hours from Rome, depending on the traffic. It’s in the Apennine mountains. (You remember them from elementary school, right? Well, I remembered they were in Italy, but I couldn’t have picked them out on a map, nor did I know they were so close to Rome.) It’s a bit over two thousand feet high and feels like it, it’s in the fifties today, and supposed to go down to almost freezing tonight. If it weren’t for the long days, I’d think winter is coming.

Actually, Hank’s birthday was yesterday. We celebrated with dinner in the hotel, in a restaurant with multiple cases of aged beef wherein you can see your dinner before it is cooked. Actually, I was the only one who had steak, from the local cow, as opposed to one from Russia, Ireland or Japan or even America, all of which were in the case. And they served this round bread that was a cross between naan and pizza and it was very good.

But speaking of the food…

I just have to testify about the bread. It’ll crack a tooth, I tell you. Which is the crusty exterior you want, which Americans won’t tolerate. That’s the way bagels used to be, now they’ve got the consistency of Wonder Bread. Furthermore, everywhere you go in America, except for a few restaurants, the bread in the basket they serve with dinner is soft, basically bland, empty calories. But at lunch today, the bread might have looked pedestrian, but the crust reminded me of my youth, back when you bought rye bread at the local bakery, when they sliced it upon order.

So the key is not only making people aware it’s Henry Mancini’s hundredth birthday, but that they consume the music.

Now if you’re my age, everybody knows Henry Mancini. But over the past week I quizzed two twentysomethings and got blank stares in response. Then I started to sing “Pink Panther” and their eyes immediately lit up. But still, it’s such a challenge crossing old acts over to younger generations, attaching the composer to the song. The family switched to Primary Wave to quarterback this centenary celebration, we’ll see how it works out.

Anyway, the conservatory in L’Aquila reached out, they were doing four concerts, would we come?

Well, here we are.

Now the head of the conservatory’s passion is prog rock, I kid you not. Unfortunately, he doesn’t speak English so well, but I did get him to say his favorite prog rock keyboard player was Rick Wakeman.

And the conductor of the program… He’s not that great with English either. But Daniela studied at the University of Chicago, she’s the conservatory’s musicologist. And she’s a fount of information. They say you learn most when you hang with the locals…that is true. Although I still wish I spoke Italian. You know, like Jackie Kennedy, that’s what we heard when JFK was president, before she was married to Onassis, when her image was at its peak, that she spoke six, or was it seven languages. You have no idea of the hope JFK’s election generated. A turning point, a young man to lead us into the sixties. We thought we had something similar with Obama but he punted, for fear of looking like the angry black man. Biden is standing up to the status quo more than Barack, then again, Biden was vice president for eight years and saw firsthand that you can’t negotiate with the unreasonable.

I had to ask Daniela about “Gomorrah.” Of course she’d seen it, and “Suburra” too (although it took a while for her to understand what show I was talking about, I didn’t have the accent right). Streaming television is now the universal language.

So after waking up we went to the Fountain of 99 Spouts. Built in the 1200s. No one knows where the water comes from, supposedly they killed the architect and buried him under the fountain to preserve the secret.

And then we went to the local museum.

Most of the art was religious, but it all made me feel insignificant. That and the Forum back in Rome. You’re born and you feel so important, believing you matter, that you’re going to put a dent in the universe. Meanwhile, almost no one achieves this. And frequently those who are remembered were overlooked during their lifetime. But you see the antiquities and you realize nothing has changed over the years. Oh, of course travel is much speedier, and health care is much better, but everybody thinks they’re important when they’re alive, that the era within which they’re living is the most significant. I don’t know, it’s weird. Museums are sanctuaries, where the trappings of regular society don’t count. How rich you are, what kind of car you drive… You leave those at the door at the museum. It’s just you and your senses. Your thoughts start to percolate. Today money triumphs, but not at the museum. It’s a great correction.

So we’ll be back in Rome, but for less than two days. The whole trip is barely a week.

And L’Aquila is not a tourist town. Although there are ski areas in the mountains, one where Pope John Paul II used to surreptitiously ski. And there is still snow on the peaks. And every car I’ve been in so far has had a stick shift. Nearly extinct in the U.S., from Skodas to Volvos, everybody’s rowing through the gears here.

And oh, on the conservatory stage, I saw this Fazioli concert grand. I figured they couldn’t afford a Steinway. But it turns out Fazioli is usually more expensive, and their concert grand is even bigger, and you learn something every day.

That’s the name of the game.

“Al Conservatorio dell’Aquila parte l’omaggio a Henry Mancini”: https://shorturl.at/houxX

[brookstonalmanac]

Birthdays 7.12

Beer Birthdays

Pete Brown (1968)

Five Favorite Birthdays

Buckminster Fuller; architect, inventor (1895)

Pablo Neruda; poet (1904)

Jamey Sheridan; actor (1951)

Henry David Thoreau (1817)

Andrew Wyeth; artist (1917)

Famous Birthdays

Milton Berle; actor, comedian (1908)

Eugene Boudin; French artist (1824)

Conte Candoli; jazz trumpeter (1927)

George Washington Carver; botanist (1864)

Van Cliburn; classical pianist (1934)

Bill Cosby; comedian (1937)

George Eastman; photography inventor (1854)

Walter Egan; rock musician (1948)

Anna Friel; British actor (1976)

Topher Grace; actor (1978)

Oscar Hammerstein II; lyricist (1895)

Mel Harris; actor (1956)

Cheryl Ladd; actor (1951)

Willis Lamb; physicist (1913)

Louis B. Mayer; film producer (1884)

Christine McVie; rock musician (1943)

Amedeo Modigliani (1884)

Michelle Rodriguez; actor (1978)

Richard Simmons; exercise guru (1948)

Richard Smith; GM executive, "Roger & Me" (1925)

Jay Thomas; actor (1948)

Josiah Wedgewood; potter (1730)

John Wetton; rock bassist (1949)

Bambi Wood; porn actor (1955)

Kristi Yamaguchi; figure skater (1971)

[projazznet]

Feelin’s is an album by saxophonist Teddy Edwards which was recorded in 1974 and first released on the Muse label. Teddy Edwards – tenor saxophone Conte Candoli – trumpet Dolo Coker – piano Ray Brown – bass Frank Butler – drums Jerry Steinholz – congas, percussion

[hammondcast]

Louie Bellson Interview With Jon Hammond HammondCast

#LISTEN TO THE AUDIO HERE: Louie Bellson Interview With Jon Hammond HammondCast 

Jon's archive https://archive.org/details/louie-bellson-interview-with-jon-hammond-hammond-cast 

Louie Bellson Interview With Jon Hammond HammondCast

by

 Jon Hammond 

Usage

 Attribution-NonCommercial-NoDerivs 4.0 International

Topics

 Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond

Language

 English

Louie Bellson Interview With Jon Hammond HammondCast on CBS KYOU / KYCY Radio - August 2003, he appeared at Jazz Club Nouveau in San Francisco with tenor saxophonist Don Menza -

Louie Bellson's Wiki: 

Birth nameLuigi Paolino Alfredo Francesco Antonio BalassoniBornJuly 6, 1924Rock Falls, IllinoisDiedFebruary 14, 2009 (aged 84)Los Angeles, CaliforniaGenresJazz, big band, swingOccupation(s)Musician, composer, arranger, bandleaderInstrument(s)DrumsYears active1931–2009LabelsRoulette, Concord, Pablo, Musicmasters

Louie Bellson (born Luigi Paolino Alfredo Francesco Antonio Balassoni, July 6, 1924 – February 14, 2009), often seen in sources as Louis Bellson, although he himself preferred the spelling Louie, was an American jazz drummer. He was a composer, arranger, bandleader, and jazz educator, and is credited with pioneering the use of two bass drums.[1]

Bellson performed in most of the major capitals around the world. Bellson and his wife, actress and singer Pearl Bailey[2] (married from 1952 until Bailey's death in 1990), had the second highest number of appearances at the White House (only Bob Hope had more).

Bellson was a vice president at Remo, a drum company.[3] He was inducted into the Modern Drummer Hall of Fame in 1985 

Bellson was born in Rock Falls, Illinois, in 1924, where his father owned a music store. He started playing drums at three years of age. While still a young child, Bellson's father moved the family and music store to Moline, Illinois.[5] At 15, he pioneered using two bass drums at the same time, a technique he invented in his high school art class.[6] At age 17, he triumphed over 40,000 drummers to win the Slingerland National Gene Krupa contest.[7]

After graduating from Moline High School in 1942, he worked with big bands throughout the 1940s, with Benny Goodman, Tommy Dorsey, Harry James, and Duke Ellington. In 1952, he married jazz singer Pearl Bailey. During the 1950s, he played with the Dorsey Brothers, Jazz at the Philharmonic, acted as Bailey's music director, and recorded as a leader for Norgran Records and Verve Records.[8]

Over the years, his sidemen included Ray Brown, Pete and Conte Candoli, Chuck Findley, John Heard, Roger Ingram, Don Menza, Blue Mitchell, Larry Novak, Nat Pierce, Frank Rosolino, Bobby Shew, Clark Terry, and Snooky Young.

In an interview in 2005 with Jazz Connection magazine, he cited as influences Jo Jones, Sid Catlett, and Chick Webb. "I have to give just dues to two guys who really got me off on the drums – Big Sid Catlett and Jo Jones. They were my influences. All three of us realized what Jo Jones did and it influenced a lot of us. We all three looked to Jo as the 'Papa' who really did it. Gene helped bring the drums to the foreground as a solo instrument. Buddy was a great natural player. But we also have to look back at Chick Webb's contributions, too."[9]

During the 1960s, he returned to Ellington's orchestra for Emancipation Proclamation Centennial stage production, My People in and for A Concert of Sacred Music, which is sometimes called The First Sacred Concert. Ellington called these concerts "the most important thing I have ever done."[10]

Bellson's album  The Sacred Music of Louie Bellson and the Jazz Ballet appeared in 2006. In May 2009, Francine Bellson told The Jazz Joy and Roy syndicated radio show, "I like to call (Sacred) 'how the Master used two maestros,'" adding, "When (Ellington) did his sacred concert back in 1965 with Louie on drums, he told Louie that the sacred concerts were based on 'in-the-beginning,' the first three words of the bible." She recalled how Ellington explained to Louie that "in the beginning there was lightning and thunder and that's you!" Ellington exclaimed, pointing out that Louie's drums were the thunder. Both Ellington and Louie, says Mrs. Bellson, were deeply religious. "Ellington told Louie, 'You ought to do a sacred concert of your own' and so it was," said Bellson, adding, "'The Sacred Music of Louie Bellson' combines symphony, big band and choir, while 'The Jazz Ballet' is based on the vows of Holy Matrimony..." 

On December 5, 1971, he took part in a memorial concert at London's Queen Elizabeth Hall for drummer Frank King. This tribute show also featured  Buddy Rich and British drummer Kenny Clare. The orchestra was led by Irish trombonist Bobby Lamb and American trombonist Raymond Premru. A few years later, Rich (often called the world's greatest drummer) paid Bellson a compliment by asking him to lead his band on tour while he (Rich) was temporarily disabled by a back injury. Bellson accepted.

As a prolific creator of music, both written and improvised, his compositions and arrangements (in the hundreds) embrace jazz, jazz/rock/fusion, romantic orchestral suites, symphonic works and a ballet. Bellson was also a poet and a lyricist. His only Broadway venture, Portofino (1958), was a resounding flop that closed after three performances.[13]

As an author, he published more than a dozen books on drums and percussion. He was at work with his biographer on a book chronicling his career and bearing the same name as one of his compositions, "Skin Deep". In addition, "The London Suite" (recorded on his album Louie in London) was performed at the Hollywood Pilgrimage Bowl before a record-breaking audience. The three-part work includes a choral section in which a 12-voice choir sings lyrics penned by Bellson. Part One is the band's rousing "Carnaby Street", a collaboration with Jack Hayes.[14]

In 1987, at the Percussive Arts Society convention in Washington, D.C., Bellson and Harold Farberman performed a major orchestral work titled "Concerto for Jazz Drummer and Full Orchestra", the first piece ever written specifically for jazz drummer and full symphony orchestra. This work was recorded by the Bournemouth Symphony Orchestra in England, and was released by the Swedish label BIS. 

Bellson was known throughout his career to conduct drum and band clinics at high schools, colleges and music stores.[16]

Bellson maintained a tight schedule of clinics and performances of both big bands and small bands in colleges, clubs and concert halls. In between, he continued to record and compose, resulting in more than 100 albums and more than 300 compositions. Bellson's Telarc debut recording, Louie Bellson And His Big Band: Live From New York, was released in June 1994. He also created new drum technology for Remo, of which he was vice-president.[17]

Bellson received an honorary Doctor of Humane Letters in 1985 at Northern Illinois University. As of 2005, among other performing activities, Bellson had visited his home town of Rock Falls, Illinois, every July for Louie Bellson Heritage Days, a weekend in his honor close to his July 6 birthday, with receptions, music clinics and other performances by Bellson.[1] At the 2004 event celebrating his 80th birthday, Bellson said, "I'm not that old; I'm 40 in this leg, and 40 in the other leg."[18] He celebrated his birthday every year at the River Music Experience in Davenport, Iowa. 

Bellson was voted into the Halls of Fame for Modern Drummer magazine, in 1985, and the Percussive Arts Society, in 1978. Yale University named him a Duke Ellington Fellow in 1977. He received an honorary Doctorate from Northern Illinois University in 1985. He performed his original concert – Tomus I, II, III – with the Washington Civic Symphony in historic Constitution Hall in 1993. A combination of full symphony orchestra, big-band ensemble and 80-voice choir, "Tomus" was a collaboration of music by Bellson and lyrics by his late wife, Pearl Bailey. Bellson was a nine-time Grammy Award nominee.[19]

In January 1994, Bellson received the NEA Jazz Masters Award from the National Endowment for the Arts.[20] As one of three recipients, he was lauded by NEA chair Jane Alexander, who said, "These colossal talents have helped write the history of jazz in America." 

On November 19, 1952, Bellson married American actress and singer, Pearl Bailey, in London. Bellson and Bailey adopted a son, Tony, in the mid-1950s, and a daughter, Dee Dee (born April 20, 1960).[22] Tony Bellson died in 2004, and Dee Dee Bellson died on July 4, 2009, at age 49, within five months of her father. After Bailey's death in 1990, Bellson married Francine Wright in September 1992.[23]

Wright, who had trained as a physicist and engineer at MIT,[24] became his manager. The union lasted until his death in 2009.[25]

On February 14, 2009, Bellson died at age 84 from complications of a broken hip suffered in December 2008 and Parkinson's disease. He is buried next to his father in Riverside Cemetery, Moline, Illinois. 

Discography[edit]

As leader[edit]

1952 Just Jazz All Stars (Capitol)

1954 Louis Bellson and His Drums (Norgran)

1955 Skin Deep (Norgran) compiles Belson's 10 inch LPs The Amazing Artistry of Louis Bellson and The Exciting Mr. Bellson

1954 The Exciting Mr. Bellson and His Big Band (Norgran)

1954 Louis Bellson with Wardell Gray (Norgran)

1954 Louis Bellson Quintet (Norgran) also released as Concerto for Drums by Louis Bellson

1954 Journey into Love (Norgan) also released as Two in Love

1955 The Driving Louis Bellson (Norgran)

1956 The Hawk Talks (Norgran)

1957 Drumorama! (Verve)

1959 Let's Call It Swing (Verve)

1959 Music, Romance and Especially Love (Verve)

1957 Louis Bellson at The Flamingo (Verve)

1959 Live in Stereo at the Flamingo Hotel, Vol. 1: June 28, 1959

1961 Drummer's Holiday (Verve)

1960 The Brilliant Bellson Sound (Verve)

1960 Louis Bellson Swings Jule Styne (Verve)

1961 Around the World in Percussion (Roulette)

1962 Big Band Jazz from the Summit (Roulette)

1962 Happy Sounds (Roulette) with Pearl Bailey

1962 The Mighty Two (Roulette) with Gene Krupa

1964 Explorations (Roulette) with Lalo Schifrin

1965 Are You Ready for This? (Roost) with Buddy Rich

1965 Thunderbird (Impulse!)

1967 Repercussion (Studio2Stereo)

1968 Breakthrough! (Project 3)

1970 Louie in London (DRG)

1972 Conversations (Vocalion)

1974 150 MPH (Concord)

1975 The Louis Bellson Explosion (Pablo)

1975 The Drum Session (Philips Records with Shelly Manne, Willie Bobo & Paul Humphrey)

1976 Louie Bellson's 7 (Concord Jazz)

1977 Ecue Ritmos Cubanos (Pablo) with Walfredo de los Reyes

1978 Raincheck (Concord)

1978 Note Smoking

1978 Louis Bellson Jam with Blue Mitchell (Pablo)

1978 Matterhorn: Louie Bellson Drum Explosion

1978 Sunshine Rock (Pablo)

1978 Prime Time (Concord Jazz)

1979 Dynamite (Concord Jazz)

1979 Side Track (Concord Jazz)

1979 Louis Bellson, With Bells On! (Vogue Jazz (UK))[27]

1980 London Scene (Concord Jazz)

1980 Live at Ronnie Scott's (DRG)

1982 Hi Percussion (Accord)

1982 Cool, Cool Blue (Pablo)

1982 The London Gig (Pablo)

1983 Loose Walk

1984 Don't Stop Now! (Capri)

1986 Farberman: Concerto for Jazz Drummer; Shchedrin: Carmen Suite(BIS)

1987 Intensive Care

1988 Hot (Nimbus)

1989 Jazz Giants (Musicmasters)

1989 East Side Suite (Musicmasters)

1990 Airmail Special: A Salute to the Big Band Masters (Musicmasters)

1992 Live at the Jazz Showcase (Concord Jazz)

1992 Peaceful Thunder (Musicmasters)

1994 Live from New York (Telarc)

1994 Black Brown & Beige (Musicmasters)

1994 Cool Cool Blue (Original Jazz Classics)

1994 Salute (Chiaroscuro)

1995 I'm Shooting High (Four Star)

1995 Explosion Band (Exhibit)

1995 Salute (Chiaroscuro)

1995 Live at Concord Summer Festival (Concord Jazz)

1996 Their Time Was the Greatest (Concord Jazz)

1997 Air Bellson (Concord Jazz)

1998 The Art of Chart (Concord Jazz)[28]

As sideman[edit]

With Count Basie

Back with Basie (Roulette, 1962)

Basie in Sweden (Roulette, 1962)

Pop Goes the Basie (Reprise, 1965)

Basie's in the Bag (Brunswick, 1967)

The Happiest Millionaire (Coliseum, 1967)

Count Basie Jam Session at the Montreux Jazz Festival 1975 (Pablo, 1975)

With Benny Carter

Benny Carter Plays Pretty (Norgran, 1954)

New Jazz Sounds (Norgran, 1954)

In the Mood for Swing (MusicMasters, 1988)

With Buddy Collette

Porgy & Bess (Interlude 1957 [1959])

With Duke Ellington

Ellington Uptown (Columbia, 1952)

My People (Contact, 1963)

A Concert of Sacred Music (RCA Victor, 1965)

Ella at Duke's Place (Verve, 1965)

With Dizzy Gillespie

Roy and Diz (Clef, 1954)

With Stephane Grappelli

Classic Sessions: Stephane Grappelli, with Phil Woods and Louie Bellson (1987)

With Johnny Hodges

The Blues (Norgran, 1952–54, [1955])

Used to Be Duke (Norgran, 1954) 

Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond 

Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond

[cdbrainrecords]

Conte Candoli - Powerhouse Trumpet (LP, Mono, RE)

Vinyl(VG++) Sleeve(VG++) Insert(VG++) Obi(missing) // missing Obi 帯なし / No scratches on Vinyl, VG+ or better. in great shape / / nice sleeve, more than VG+ conditions / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good Plus (VG+) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : Bethlehem Records,Trio Records – PAP – 23008 [M] フォーマット : Vinyl, LP, Reissue, Mono 生産国…

[faithnfrivolity]

Like most so-called overnight successes, Vincent Anthony Guaraldi—(July 17, 1928 – February 6, 1976) who forever described himself as "a reformed boogie-woogie piano player"—worked hard for his big break.

The man eventually dubbed "Dr. Funk" by his compatriots was born in San Francisco on July 17, 1928; he graduated from Lincoln High School and then San Francisco State College. Guaraldi began performing while in college, haunting sessions at the Black Hawk and Jackson's Nook, sometimes with the Chubby Jackson / Bill Harris band, other times in combos with Sonny Criss and Bill Harris. He played weddings, high school concerts, and countless other small-potatoes gigs.

His first serious booking came at the Black Hawk, when he worked as an intermission pianist ... filling in for the legendary Art Tatum. "It was more than scary", Guaraldi later recalled. "I came close to giving up the instrument, and I wouldn't have been the first after working with Tatum". Guaraldi's first recorded work can be heard on "Vibratharpe", a 1953 release by the Cal Tjader. Guaraldi then avoided studios for the next few years, preferring to further hone his talents in the often unforgiving atmosphere of San Francisco's beatnik club scene. In 1955 he put together his own trio — longtime friend Eddie Duran on guitar, Dean Reilly on bass — and tackled North Beach's bohemian hungry i club. He also returned to studio work that year, making his recorded debut as group leader, although with different personnel: John Markham (drums), Eugene Wright (bass) and Jerry Dodgion (alto sax). What soon came to be recognized as the "Guaraldi sound", however, resulted from several recording sessions with his hungry i buddies. The original Vince Guaraldi Trio, with Duran and Reilly, can be heard on two releases: "The Vince Guaraldi Trio" (1956) and "A Flower is a Lonesome Thing" (1957)

The late 50s were a busy time. Aside from studio sessions with Conte Candoli (two albums), Frank Rosolino (one album), and Cal Tjader (at least ten albums), Guaraldi toured in 1956 with Woody Herman's third "Thundering Herd", replacing Nat Pierce on piano for one season. Not too much later, just after midnight during 1958's first annual Monterey Jazz Festival, some 6,000 rabid but by now quite tired jazz fans came to their feet when The Cal Tjader Quintet blew them away.

Thanks in no small part to the "sound of surprise" from the feisty Guaraldi, whose extended blues riffs literally had the crowd screaming for more, Tjader's quintet received an enthusiastic standing ovation.

National prominence was just around the corner. Inspired by the 1959 French/Portuguese film "Black Orpheus", Guaraldi hit the studio with a new trio — Monte Budwig on bass, Colin Bailey on drums — and recorded his own interpretations of Antonio Carlos Jobim's haunting soundtrack music. The 1962 album was called "Jazz Impression of Black Orpheus", and "Samba de Orpheus" was the first selection released as a single. Combing the album for a suitable B-side number, Guaraldi's producers finally ghettoized a modest original composition titled "Cast Your Fate to the Wind".

Fortunately, some enterprising Sacramento, California DJs turned the single over...

...and the rest is history.

"Cast Your Fate to the Wind" became a Gold Record winner and earned the 1963 Grammy as Best Instrumental Jazz Composition. It was constantly demanded during Guaraldi's club engagements, and suddenly jazz fans couldn't get enough of him. He responded with several albums during 1963 and '64, perhaps the most important of which was "Vince Guaraldi, Bola Sete, and Friends", with Fred Marshall (bass), Jerry Granelli (drums) and Brazilian guitarist Bola Sete. That marked the first of several collaborations with Sete, a musical collaboration whose whole was greater than the sum of its already quite talented parts.

Guaraldi was also a recognized fixture on television, if only in the greater San Francisco region. He and jazz critic Ralph Gleason documented the success of "Cast Your Fate to the Wind" in the three-part "Anatomy of a Hit", produced for San Francisco's KQED; later, shortly after his first album with Sete, Guaraldi did a "Jazz Casual" TV show for the same network

The most prestigious task, however, was yet to come. Even before Duke Ellington played San Francisco's Grace Cathedral, that venerable institution's Reverend Charles Gompertz selected Guaraldi to write a modern jazz setting for the choral Eucharist. The composer labored18 months with his trio and a 68-voice choir, and the result is an impressive blend of Latin influences, waltz tempos, and traditional jazz "supper music". It was performed live on May 21, 1965, and the album became another popular and critical hit. Clearly, if Vince Guaraldi could write music for God, he could pen tunes for Charlie Brown.

The jazz pianist's association with Charles Schulz's creations actually had begun the year before, when Guaraldi was hired to score the first Peanuts television special, adocumentary called "A Boy Named Charlie Brown" (not to be confused with the big-screen feature of the same title). The show brought together four remarkable talents: Schulz, writer/producer/director Lee Mendelson, artist Bill Melendez and Guaraldi.

Guaraldi's smooth trio compositions — piano, bass and drums — perfectly balanced Charlie Brown's kid-sized universe. Sprightly, puckish, and just as swiftly somber and poignant, these gentle jazz riffs established musical trademarks which, to this day, still prompt smiles of recognition.

They reflected the whimsical personality of a man affectionately known as a "pixie", an image Guaraldi did not discourage. He'd wear funny hats, wild mustaches, and display hairstyles from buzzed crewcuts to rock-star shags.

Unfortunately, with an irony that seemed appropriate for a documentary about Charlie Brown, Mendelson never was able to sell the show, which remains unseen to this day by the general public. Fortunately, the unaired program became an expensive calling-card that attracted a sponsor (Coca-Cola) intrigued by the notion of a Peanuts Christmas TV special. Thus, when "A Charlie Brown Christmas" debuted in December 1965, it did more than reunite Schulz, Mendelson, Melendez and Guaraldi, all of whom quickly turned the Peanuts franchise into a television institution. That first special also shot Guaraldi to greater fame, and he became irreplaceably welded to all subsequent Peanuts shows. Many of his earliest Peanuts tunes — "Linus and Lucy", "Red Baron" and "Great Pumpkin Waltz", among others — became signature themes that turned up in later specials.

Guaraldi became so busy that the ensuing decade saw only half a dozen album releases, three of them direct results of his Peanuts work: "A Boy Named Charlie Brown", "A Charlie Brown Christmas" and "Oh, Good Grief!" At some point between his switch from the Fantasy label to Warner Brothers, Guaraldi took the time to produce and direct an album that has become quite obscure: 1968's "Vince Guaraldi with the San Francisco Boys Chorus", released on his own D&D label. This was followed by two Warners releases: "The Eclectic Vince Guaraldi", which marks Guaraldi's recorded vocal debut; and "Alma-Ville", which showcases a Guaraldi guitar solo on one cut. On February 6, 1976, while waiting in a motel room between sets at Menlo Park's Butterfield's nightclub, Guaraldi died of a sudden heart-attack. He was only 47 years old.

A few weeks later, on March 16, "It's Arbor Day, Charlie Brown" debuted on television. It was the 15th, and last, Peanuts television special to boast Guaraldi's original music. He had just finished recording his portion of the soundtrack on the very afternoon of the day he died.

Time ... passed.

Those who followed in Guaraldi's Peanuts-themed footsteps — Ed Bogas, Desiree Goyette, Judy Munsen and others — found the shoes impossible to fill. Not one produced a song or theme anywhere near as catchy as the Master, and several of the specials from the late 1970s and '80s consequently lacked a certain zip.

A whopping three decades later, no doubt responding to unceasing pleas from fans who had played Guaraldi's three Peanuts albums to death — and wondered what had become of the themes and background music in all those other television specials — Fantasy released 1998's "Charlie Brown's Holiday Hits". The CD included nine previously unissued tracks, from the theme to "A Charlie Brown Thanksgiving" to a vocal rendition of "Oh, Good Grief", performed by Lee Mendelson's son's sixth-grade class.Four years later, in the summer of 2003, Vince Guaraldi's son, David, teamed up with Bluebird Records to release "The Charlie Brown Suite". The centerpiece selection, long spoken of in reverential tones by fans who only knew of it but never had heard it, is the fully orchestrated "Charlie Brown Suite", recorded live on May 18, 1969, during a benefit performance with Amici Della Musica (Richard Williams, conductor) at Mr. D's, a theater/restaurant in San Francisco's North Beach region. This awesome piece of music clocks in at roughly 40 minutes and skillfully weaves half a dozen songs into an integrated whole: "Linus and Lucy", "The Great Pumpkin Waltz", "Peppermint Patty", "Oh, Good Grief", "Rain, Rain, Go Away" and "Red Baron".

Encouraged by the enthusiastic response to this new compilation of his father's previously unreleased recordings, David Guaraldi has big plans for the upcoming years ... and this Web site is the place to get up-to-the-minute information.

"I don't think I'm a great piano player", Vince Guaraldi once said, "but I would like to have people like me, to play pretty tunes and reach the audience. And I hope some of those tunes will become standards. I want to write standards, not just hits". He got his wish.

Windham Hill recording artist George Winston has been playing "Linus and Lucy" for years, during his concert appearances. A promise to record it and other Guaraldi cuts finally bore fruit in the autumn of 1996, with the release of Winston's "Linus & Lucy: TheMusic of Vince Guaraldi".

"Linus and Lucy" also has been interpreted by Wynton Marsalis, Dave Brubeck and David Benoit; the latter has become Guaraldi's ongoing torch-bearer in the most recent Peanuts animated TV specials. GRP Records had a smash hit back in 1990, with their soundtrack to the television special "Happy Anniversary Charlie Brown", which gathered numerous jazz luminaries for their interpretations of classic Guaraldi compositions, along with some new cuts clearly inspired by Dr. Funk's Peanuts themes.

"Christmas Time is Here" has become a seasonal fixture, and pretty much everybody of consequence has covered "Cast Your Fate to the Wind".

Let's fade with the words of Jon Hendricks, poet laureate of jazz, who once wrote:

"Vince is what you call a piano player. That's different from a pianist. A pianist can play anything you can put in front of him. A piano player can play anything before you can put it in front of him."

Source: Derrick Bang, All About Jazz

[honeyleesblog]

June 28 ZODIAC

Horoscope and character for those brought into the world on June 28 They appreciate showing their most ideal side in all things. They are a proposition of visual expressions, lovely improvements, exquisite ensembles and wonderful environmental factors. They are very vain individuals, which is immediately seen by their current circumstance. They are capricious and appreciate presenting. It ought to be noted, in any case, that they are even eager. Respectable, kind to other people, appended to their home, enamored with solaces and amicable environmental factors. Touchy, cherishing and friendly, they are portrayed by a decent memory. They are a piece cumbersome, yet can foster incredible power and movement. By then, they perseveringly adhere to their objectives and undertakings. In spite of the fact that they have a decent heart, they are imprudent and showy, which harms them. They know how to live and keep an eye on limits and overabundances. They have a quite unsafe mentality and appreciate experiences. Anything you conclude throughout everyday life, you can accomplish it. They effectively accomplish abundance, however are frequently unfit to appropriately utilize it. Their outings, both land and ocean, permit them to create and arrive at a high social level. His body isn't especially safe and he is exceptionally delicate. June 28 ZODIAC 

 Assuming your birthday is June 28, your zodiac sign is Disease June 28 - character and character character: perfect, keen, normal, fierce, childish, disseminated calling: rancher, cop, stylist tones: olive, silver, beige stone: ruby animal: starfish plant: linden trees fortunate numbers: 12,17,31,42,43,58 very fortunate number: 33 Occasions and observances - June 28 Worldwide Day for Sexual Variety. Worldwide LGBT Pride Day. Peru: Public Cebiche Day. June 28 VIP birthday celebrations. Who was conceived that very day as you? 1900: Giovanni De Pra, Italian footballer (d. 1979). 1901: Antonio Acuna Carballar, Spanish lawmaker (d. 1936). 1902: George Padmore, Trinidadian lawmaker (d. 1959). 1902: Richard Rodgers, American author (d. 1979). 1902: Monchდ­n Triana, Spanish soccer player (d. 1936). 1903: Andrდ© Maschinot, French footballer (d. 1963). 1904: Adrian Rollini, American artist (d. 1956). 1905: Francis Camps, English pathologist (d. 1972). 1905: Henry H. Carter, American Hispanicist (d. 2001). 1906: Maria Goeppert-Mayer, German physicist, Nobel Prize victor for material science in 1963 (d. 1972). 1907: Carlos Encinas Gonzდ¡lez, Spanish painter (f. 1998). 1907: Jimmy Mundy, American jazz author (d. 1984). 1908: Juan Carlos Thorry, Argentine entertainer (d. 2000). 1909: Eric Ambler, English essayist (d. 1998). 1909: Josდ© Antonio Elola-Olaso, Spanish lawmaker (d. 1976). 1909: Francisco Grande Coviდ¡n, Spanish natural chemist (f. 1995). 1909: Josდ© de Magalhaes Pinto, Brazilian investor and ambassador (f. 1996). 1909: Christopher Soglo, Leader of Benin (d. 1983). 1912: Sergiu Celibidache, Romanian guide and artist (f. 1996). 1912: Carl Friedrich von Weizsდ¤cker, German physicist and scholar (d. 2007). 1913: Roberto Grela, Argentine tango author and guitarist (f. 1992). 1914: Aribert Heim, Austrian doctor (d. 1992). 1915: Rafael Bernal, Mexican ambassador and essayist (d. 1972). 1915: David Honeyboy Edwards, American guitarist, delta blues artist (d. 2011). 1916: Steve Calvert, American entertainer (d. 1991). 1916: Virgilio Rodrდ­guez Macal, Guatemalan columnist, writer and negotiator (f. 1964). 1917: Stella Inda, Mexican entertainer and essayist (f. 1995). 1918: Maxine Stuart, American entertainer (d. 2013). 1919: Alfredo Vera, Ecuadorian government official (f. 1999). 1921: PV Narasimha Rao, Indian government official (d. 2004). 1922: Mauro Bolognini, Italian producer (d. 2004). 1922: Robert Campbell, Scottish footballer and mentor (d. 2009). 1923: Tomდ¡s Asiain, Spanish writer (f. 1989). 1923: Howard E. Bigelow, American mycologist (d. 1987). 1923: Conte Candoli, American trumpeter (d. 2001). 1923: Pete Candoli, American trumpeter (d. 2008). 1923: Antonio Hernდ¡ndez Carpe, Spanish painter (f. 1977). 1923: Giff Roux, American ball player (d. 2011). 1924: Manuel Lდ³pez Villasenor, Spanish painter (f. 1996). 1925: Severino Dდ­az, Argentine soccer ref (d. 2008). 1925: Leდ³n Droz Blanco, Venezuelan military man (d. 1954). 1925: Giselher Klebe, German writer (d. 2009). 1925: Fidel Tello Repiso, Spanish painter. 1926: Mel Streams, American screenwriter, entertainer and movie producer. 1927: Jesდºs Nieto, Spanish naming entertainer (d. 1996). 1927: F. Sherwood Rowland, American researcher (d. 2012). 1927: Enrique Velasco Ibarra, Mexican government official (d. 2010). 1928: Hans Blix, Swedish negotiator and legislator. 1928: Wear Dubbins, American entertainer (d. 1991). 1928: John S. Ringer, American physicist (d. 1990). 1929: Antonio Ferraz, Spanish cyclist. 1929: Tomდ¡s Marco Nadal, Spanish sketch artist (f. 2000). 1929: Glenn D. Paige, American political researcher. 1930: Taty Almeida, Argentine essayist and extremist, individual from the Moms of the Square de Mayo. 1930: Josდ© Luis Artetxe, Spanish footballer. 1930: Fernando Delgado, Spanish entertainer (d. 2009). 1930: Norma Fontenla, Argentine artist (d. 1971). 1930: Itamar Franco, Brazilian lawmaker of Italian beginning (d. 2011). 1930: Jack Gold, English producer. 1930: Horacio Gდ³mez Bolanos, Mexican entertainer (f. 1999). 1931: Bobby Hurley, American ball player. 1931 - Junior Johnson, American hustling driver. 1931: Enrique Monsonდ­s, Spanish government official (f. 2011). 1932: Attila L. Borhidi, Hungarian botanist and government official. 1932: Carlos Hayre, Peruvian writer (d. 2012). 1932: Pat Morita, American entertainer (f. 2005). 1934: Carl Levin, American legal advisor and legislator. 1934: Jordi Parra, Spanish ball player, mentor and supervisor. 1936: Toss Howley, American football player. 1937: Richard Splendid, American entertainer (d. 2006). 1937: Carlos Monden, Chilean entertainer (d. 2011). 1937: Juan Josდ© Saer, Argentine author (d. 2005). 1938: Leon Panetta, American government official. 1938: Moy Yat, Chinese military craftsman (d. 2001). 1939: Pedro Luis Barcia, Argentine etymologist. 1939: Goodbye Cedrდ³n, writer and performer of Argentine tango. 1940: Josდ© Sanchis Sinisterra, Spanish writer. 1940: Muhammad Yunus, Bengali investor and financial analyst. 1941: David Lloyd Johnston, Canadian scholar, attorney and government official. 1941: Clifford Luyk, Spanish b-ball player. 1941: Guadalupe Trigo, Mexican guitarist, vocalist, entertainer and arranger (d. 1982). 1942: David Kopay, American football player. 1942: Pedro Navascuდ©s, Spanish history specialist. 1942: Rupert Sheldrake, English author, parapsychologist and organic chemist. 1942: Candid Zane, American jock. 1943: Pietro Guerra, Italian cyclist. 1943: Donald Johanson, American paleoanthropologist. 1943: Klaus von Klitzing, German physicist, champ of the Nobel Prize in Physical science in 1985. 1943: Ismael Laguna, Panamanian fighter. 1943: Alfonso Santisteban, Spanish guide and arranger (f. 2013). 1944: Colette Cusset, French botanist. 1944: Philippe Druillet, French illustrator. 1944: Luis Alberto Nicolao, Argentine swimmer. 1944: Carlos Palenque, vocalist, TV moderator and Bolivian legislator (f. 1997). 1944: Luis del Val, Spanish writer. 1945: Raul Seixas, Brazilian performer (d. 1989). 1946: Bruce Davison, American entertainer and movie producer. 1946: Jaime Guzmდ¡n, Chilean lawmaker (f. 1991). 1946: Gilda Radner, American entertainer and vocalist (d. 1989). 1947: Peter Abrahams, American author. 1947: Robin Ian MacDonald Dunbar, English anthropologist. 1948: Kathy Bates, American entertainer. 1948: Sergey Bodrov, Russian-American movie producer. 1949: Wear Baylor, American baseball trainer. 1949: Jorge Bonaldi, Uruguayan guitarist, vocalist and writer. 1949: Tom Owens, American b-ball player. 1950: David Lanz, American piano player. 1950: Juan Pascualli Gდ³mez, Mexican specialist and government official (d. 2010). 1950: Francisca Pleguezuelos Aguilar, Spanish lawmaker. 1950: Mauricio Rojas, Swedish-Chilean financial expert and government official. 1951: Walter Alva, Peruvian paleologist. 1951: Lalla Ward, English entertainer and author. 1952: Tomდ¡s Kid, Mexican soccer player. 1952: Pietro Mennea, Italian competitor and lawmaker (d. 2013). 1952: Jean-Christophe Rufin, French doctor, author, scholarly and negotiator. 1952: Raდºl Wensel, Argentine footballer and mentor. 1953: Aდ­da Ayala, Argentine writer. 1953: Hდ©ctor Raდºl Rondდ¡n, Uruguayan cyclist. 1954: Anna Birulდ©s, Spanish lawmaker and business chief. 1954: Alice Krige, English entertainer. 1954: Mario Marდ­n Torres, Mexican lawmaker. 1954: Valentina Quintero, Venezuelan TV moderator. 1954: Benoდ®t Sokal, Belgian visual artist and computer game planner. 1955: დ?lvaro Cuesta, Spanish lawmaker. 1955: Thomas Hampson, American baritone. 1956: Bakir Izetbegoviე‡, Bosnian lawmaker. 1956: Helmut Kickton, German ensemble chief and organist. 1957: Luis Pagani, Argentine money manager. 1957: Gueorgui Purvanov, Bulgarian president. 1957: Jim Spanarkel, American b-ball player. 1958: Raდºl Durდ¡n Reveles, Mexican modeler and government official (d. 1996). 1959: Raდºl Vallejo, Ecuadorian author and government official. 1960: Gabriel Donoso, Chilean polo player (f. 2006). 1960: John Elway, American football player. 1961: Jeff Malone, American b-ball player and mentor. 1961: Vდ­ctor Emilio Masalles Pere, Spanish minister, market analyst and scholar. 1961: Willy Mდ¼ller, Argentine draftsman. 1962: Anisoara Cusmir-Stanciu, Ruaman competitor. 1963: Marco Barrientos, Mexican vocalist. 1963: Charlie Clouser, American keyboardist and author (Nine Inch Nails). 1963: Beverley Fainthearted, American artist. 1963: Babatunde Fashola, Nigerian lawmaker and legal advisor. 1964: Daniel Giacomino, Argentine lawmaker. 1964: Mitsuaki Madono, Japanese entertainer. 1965: Luis Abarca, Chilean soccer player. 1965: Tetდ© Delgado, Spanish craftsman and entertainer. 1965: Jessica Hecht, American entertainer. 1965: Cyril Makanaky, Cameroonian footballer. 1965: Raდºl Quintillდ¡n, Spanish console player (Government Carriers). 1965: Joaquდ­n Talismდ¡n, Spanish performer. 196

[jazzdailyblog]

"Sonny's Dream (Birth of the New Cool)": A Dynamic Intersection of Hard Bop and Big Band Jazz

Introduction: Sonny Criss’ album “Sonny’s Dream (Birth of the New Cool),” released in 1968, stands as a significant artistic achievement in both the alto saxophonist’s career and the evolution of modern jazz. With its captivating fusion of hard bop and big band arrangements, the album showcases Criss at his peak, supported by an innovative and intricate nonet arrangement by Los Angeles jazz icon…

[filmandimage]

1973, Some Call It Loving, James B. Harris

[raggywaltz1954]

Boss Sounds! // Shelly Manne (Atlantic SD 1469)

Boss Sounds! // Shelly Manne (Atlantic SD 1469)

Driving a few miles north of Hermosa Beach, humming “Appointment In Ghana” as you motor along the Pacific Coast, you find yourself in Los Angeles, the first major city on your jazz journey. Being that this is the capitol of Southern California and its jazz mecca, there’s almost too many options to choose from. LA is such a huge area, with everything from Hollywood to the Inland Empire (my home!)…

[uispecialcollections]

Conte Candoli

The answer to our Who Wore It Wednesday is Conte Candoli. Throughout his career, Conte played trumpet in the bands of Woody Herman, Chubby Jackson, Stan Kenton, Charlie Ventura, and even his own.

In 1967, Conte began making occasional appearances with Doc Severinson’s band on the Tonight Show. When Johnny Carson moved the show from New York to California, in 1972, Conte became a permanent fixture. He played for the band until 1992 when Johnny Carson retired. 

Candoli also consistently had studio work, often backing artists like Frank Sinatra and Ella Fitzgerald. He would also often work with his brother, Pete. 

Conte Candoli performing on the Tonight Show. 

Photograph Courtesy of the Conte Candoli papers, IJC MG 17

[brookstonalmanac]

Birthdays 7.12

Beer Birthdays

Pete Brown (1968)

Five Favorite Birthdays

Buckminster Fuller; architect, inventor (1895)

Pablo Neruda; poet (1904)

Jamey Sheridan; actor (1951)

Henry David Thoreau (1817)

Andrew Wyeth; artist (1917)

Famous Birthdays

Milton Berle; actor, comedian (1908)

Eugene Boudin; French artist (1824)

Conte Candoli; jazz trumpeter (1927)

George Washington Carver; botanist (1864)

Van Cliburn; classical pianist (1934)

Bill Cosby; comedian (1937)

George Eastman; photography inventor (1854)

Walter Egan; rock musician (1948)

Anna Friel; British actor (1976)

Topher Grace; actor (1978)

Oscar Hammerstein II; lyricist (1895)

Mel Harris; actor (1956)

Cheryl Ladd; actor (1951)

Willis Lamb; physicist (1913)

Louis B. Mayer; film producer (1884)

Christine McVie; rock musician (1943)

Amedeo Modigliani (1884)

Michelle Rodriguez; actor (1978)

Richard Simmons; exercise guru (1948)

Richard Smith; GM executive, "Roger & Me" (1925)

Jay Thomas; actor (1948)

Josiah Wedgewood; potter (1730)

John Wetton; rock bassist (1949)

Bambi Wood; porn actor (1955)

Kristi Yamaguchi; figure skater (1971)

[projazznet]

Frank Morgan – Frank Morgan

Frank Morgan (also referred to as Gene Norman Presents Frank Morgan) is an album by saxophonist Frank Morgan with trumpeter Conte Candoli and Machito’s Rhythm Section which was recorded in 1955 and released on the Gene Norman Presents label. The album would be Morgan’s only release for 30 years until his comeback in 1985.

Frank Morgan – alto saxophone Conte Candoli – trumpet Wardell Gray – tenor saxophone Wild Bill Davis – organ Carl Perkins – piano Howard Roberts – guitar Leroy Vinnegar , Robert Rodriguez – bass Lawrence Marable – drums, percussion Rafael Miranda – congas Jose Mangual – bongos Ubaldo Nieto – timbales