Pete Candoli

Later, he drifted into the "West Coast Jazz" and studio scenes. Despite his range, he rarely played lead, reserved instead for feature roles. He became a favorite collaborator of many influential musicians and performers, including Peggy Lee, Henry Mancini, and Frank Sinatra, and was widely sought for studio work. Read Less

He won the Down Beat, Metronome, Esquire "All American Band Trumpet Bronze Award".<br /><br /> 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.<br /><br /> Candoli's solo work is notable for his eloquent roles, supportive of the efforts of others. His adroit use of staccato was rare among modern jazz trumpeters. Despite his reputation for his high-note ability, he rarely used it unless explicitly called for by the conductor, the band leader, or the composer. More often, his solos began with low-to-mid-register staccato riffs which built into rolling cadenzas and ending, when appropriate, in high-note, bravura climaxes.<br /><br /> 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. Pete appears on all of the original 10" tracks (recorded in 1953; expanded in 1956 to 12" with a different set of musicians). Muted but felicitously omnipresent on all the 10" tracks, he performs open-horned on the last chorus of "My Heart Belongs to Daddy", building from modest fills to a full-throated high-note climax that helps to make the song the centerpiece of the album and gives Lee arguable co-ownership of this song with Mary Martin. Read Less