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Conte Candoli
Conte Candoli
Conte Candoli
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Secondo "Conte" Candoli (July 12, 1927[1] – December 14, 2001) was an American jazz trumpeter based on the West Coast. He played in the big bands of Woody Herman, Stan Kenton, Benny Goodman, and Dizzy Gillespie, and in Doc Severinsen's NBC Orchestra on The Tonight Show Starring Johnny Carson. He played with Gerry Mulligan, and on Frank Sinatra's TV specials. He also recorded with Supersax, a Charlie Parker tribute band that consisted of a saxophone quintet, the rhythm section, and either a trumpet or trombone.

Music career

[edit]

Conte was the younger brother of trumpeter Pete Candoli. He was born in Mishawaka, Indiana, United States.[1] During the summer of 1943, while at Mishawaka High School, Secondo "Conte" Candoli sat in with Woody Herman's First Herd.[2]

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 immediately went on the road, where he stayed for the next ten years, with Herman, Stan Kenton,[1] Benny Goodman, and Dizzy Gillespie.

In 1954, after leaving Stan Kenton, Candoli formed his own group with sidemen Chubby Jackson, Frank Rosolino, and Lou Levy. He soon moved to Los Angeles to join the Lighthouse All-Stars with Shorty Rogers, Bud Shank, and Bob Cooper, and 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, and 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 occasionally 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 cancer at the age of 74, in Palm Desert, California,[3]

Band memberships

[edit]
Candoli at Bach Dancing & Dynamite Society, Half Moon Bay, California, 1988
Band Years
Woody Herman's First Herd 1943 Summer
1945–
Chubby Jackson's Fifth Dimensional Jazz Group
Stan Kenton 1948
Charlie Ventura's "Bop for the People" 1949
Stan Kenton 1951–1954
Terry Gibbs Dream Band –
Gerry Mulligan's Concert Jazz Band 1960–1961
Howard Rumsey's Lighthouse All-Stars 1956–1960
Supersax
The Tonight Show 1967–1972 Guest
1972–1992 Regular
Candoli Brothers 1957–1962

Discography

[edit]
Album Release
Sincerely, Conte Candoli 1954
Groovin' High: Conte Candoli, Vol. 2 1955
Toots Sweet and West Coast Wailers 1955
Groovin' Higher: Conte Candoli Quintet 1955
Cool Gabriels – Conte Candoli et alia 1956 (Groove LG-1033)
Conte Candoli Quartet 1957
Mucho Calor 1957
Little Band Big Jazz 1960
Conversation 1973
Candoli Brothers 1970s
Old Acquaintance 1985
Sweet Simon 1992
Meets the Joe Haider Trio 1994
Portrait of a Count 1966
Candoli Live 2002
The Complete Phoenix Recordings, Vol. 1 2002
Fine and Dandy

As sideman

[edit]

With Manny Albam and Ernie Wilkins

With Chet Baker

With Louis Bellson

With Elmer Bernstein

With Buddy Bregman

With Bob Cooper

With Sonny Criss

With Teddy Edwards

with Victor Feldman

With Maynard Ferguson

With Clare Fischer

With Gil Fuller

With Stan Getz

With Stan Levey

  • This Time The Drum's On Me (Bethlehem, 1955)

With Dizzy Gillespie

With Stan Kenton

With Shelly Manne

With Jack Montrose

With Mark Murphy

With Frank Morgan

With Gerry Mulligan

With Joe Newman

With Jack Nitzsche

With Anita O'Day

With Art Pepper

  • Gettin' Together (Contemporary 1958)

With Betty Roché

With Shorty Rogers

With Pete Rugolo

With Bud Shank

With Lalo Schifrin

With Gerald Wilson

With Pete Candoli

  • The Candoli Brothers (Dobre Records DR1050, 1978)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Conte Candoli

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

Early life

Birth and family

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

Musical beginnings

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

Professional career

Big band associations (1940s–1950s)

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

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

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

Television and studio work (1960s–1990s)

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

Personal life

Family and residences

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

Death and tributes

Conte Candoli died on , , at the age of 74 from cancer at the Monterey Palms Convalescent Home in , where he had resided in his . He was survived by his , Kristen Candoli; his brother, the trumpeter of ; his , Marcia Candoli of ; his stepdaughter, Marla of ; his , Gloria Henke of ; and several grandchildren. The announced the , and arrangements were handled privately, with no public details on services immediately available. In the , Candoli's passing prompted immediate expressions of for his vibrant playing style and enduring contributions, with colleagues recalling his tone and improvisational flair as hallmarks of . His brother Pete, with whom he had shared a lifelong musical bond, expressed profound , noting that he thought of Conte every day and that was inexpressible in words, underscoring their deep emotional and connection. While specific statements from were not publicly documented at the time, the broader mourned Candoli as a legendary trumpeter whose work with ensembles like the Lighthouse All-Stars and Supersax had inspired generations. Following his death, a live recording titled Candoli Live, captured during a 2000 performance at Birdland in Neuburg, , was released in 2002 by Nagel-Heyer , serving as a poignant posthumous showcase of his commanding presence on standards like "." This album highlighted Candoli's continued vitality in his final active years, just months before his illness advanced.

Musical style and legacy

Playing style and influences

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

Awards and recognition

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

Discography

As leader

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

As sideman

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

References

  1. https://www.ijc.uidaho.edu/candoli_conte/bio.html
  2. https://www.theguardian.com/news/2002/jan/07/guardianobituaries.johnfordham
  3. https://www.allaboutjazz.com/news/conte-candoli-top-west-coast-trumpet-soloist/
  4. https://jazztimes.com/archives/conte-candoli/
  5. https://www.discogs.com/release/11854325-Conte-Candoli-Candoli-Live
  6. https://archiveswest.orbiscascade.org/ark:80444/xv92407
  7. https://www.allaboutjazz.com/musicians/conte-candoli
  8. https://www.latimes.com/archives/la-xpm-2001-dec-16-me-15404-story.html
  9. https://fromthevaults-boppinbob.blogspot.com/2022/06/pete-candoli-born-28-june-1923.html
  10. https://jazzprofiles.blogspot.com/2018/06/a-word-or-two-about-conte-candoli.html
  11. https://www.candoli.com/contecandoli.htm
  12. http://www.jazzprofessional.com/report/ConteCandoli.htm
  13. https://archive.org/details/CompleteColumbiaWoodyHerman
  14. https://www.discogs.com/artist/281340-Conte-Candoli
  15. http://www.candoli.com/contecandoli.htm
  16. https://www.discogs.com/release/4567870-Charlie-Ventura-featuring-Jackie-Cain-and-Roy-Kral-Bop-For-The-People-
  17. https://londonjazzcollector.wordpress.com/2015/05/11/howard-rumseys-lighthouse-all-stars-1956-stereo-records/
  18. https://www.jazzmessengers.com/en/1919/conte-candoli/jazz-horizons-the-candoli-brothers-sextet
  19. https://weeklyhubris.com/essential-listening-the-brothers-candoli/
  20. https://jazzjournal.co.uk/2021/09/07/gerry-mulligans-concert-jazz-band-a-history/
  21. https://sinatradiscography.com/session/index.php?sa=653%2C689%2C691%2C695%2C703%2C710%2C712%2C720%2C722&ssid=2065%2C2229%2C2239%2C2250%2C2302%2C2304%2C2324%2C2333%2C2376%2C2379%2C2380&as=4515
  22. https://www.ijc.uidaho.edu/items/ijc_candoli_conte.html
  23. https://nationaljazzarchive.org.uk/explore/interviews/1621517-conte-candoli
  24. https://rateyourmusic.com/artist/conte-candoli/credits/
  25. https://variety.com/2002/scene/people-news/conte-candoli-1117858377/
  26. https://www.latimes.com/archives/la-xpm-2001-dec-20-me-16633-story.html
  27. https://www.nytimes.com/2001/12/21/arts/conte-candoli-74-trumpeter-for-tonight.html
  28. https://www.latimes.com/archives/la-xpm-1990-07-07-ca-301-story.html
  29. https://www.hahnfuneralhomes.com/obituary/Gloria-Henke
  30. https://www.candoli.com/home.htm
  31. https://www.allmusic.com/album/candoli-live-mw0000224624
  32. https://www.ijc.uidaho.edu/candoli_conte/
  33. https://www.imdb.com/title/tt0055708/awards/
  34. https://www.discogs.com/master/816132-Conte-Candoli-Sincerely-Conti
  35. https://www.discogs.com/master/393482-Conte-Candoli-Mucho-Calor
  36. https://www.freshsoundrecords.com/conte-candoli-albums/3679-little-band-big-jazz.html
  37. https://www.ijc.uidaho.edu/candoli_conte/discography.html
  38. https://www.discogs.com/release/4772167-Conte-Candoli-Sweet-Simon
  39. https://www.allmusic.com/album/the-complete-phoenix-recordings-vol-1-mw0000440879
  40. https://rateyourmusic.com/release/album/stan-kenton/city-of-glass/
  41. https://sinatraology.com/person/476
  42. https://www.jazzmessengers.com/en/8543/gerry-mulligan/the-concert-jazz-band-at-newport-1960
  43. https://www.discogs.com/release/2315418-Supersax-Supersax-Plays-Bird
  44. https://www.amazon.com/2-Doc-Severinsen/dp/B000001O8W
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