Conte Candoli Quartet

For his first MODE release, Conte chose a standard  rhythm foundation to support his creative trumpet designs. Piano is under the capable hands of young Vince Guaraldi whose two-fisted attack has earned for him the immediate respect of  music men. Bassist Monty Budwig is a thoroughly dependable player with a sharp rhythm sense and an acute ensemble feeling. Drummer Stan Levey worked the Kenton band with Conte and has a keen perception of the leader's particular style and attack. His support is invaluable. 

Another feature of MODE's Conte Candoli release is the elaboration on arrangements for the date by "Count" and his brother Pete. Pete's power-packed trumpet playing was a highlight of Woody Herman's first herd on which he and Conte sat together. With a deep respect for Pete's diverse talents, Conte was pleased to find him available to puzzle out the interesting originals heard here.

Keeping in mind that exploration is an important part of the jazz picture, Conte Candoli is always a welcome record study. His keen jazz sense and his interest in adapting unlikely melodies to that art have established him in the forefront of major influences. In the house of jazz royalty, the "Count" is a permanent fixture. *Joe Quinn (liner notes)* 

This session features the excellent bop trumpeter Conte Candoli in a quartet with pianist Vince Guaraldi, bassist Monty Budwig, and drummer Stan Levey. In addition to the joy of hearing Candoli so well-showcased, this set is recommended because of the interesting repertoire. In addition to "Flamingo", "Diane", and "No Moon at All", one gets to hear rare selections penned by the likes of Al Cohn, Osie Johnson, Conte's brother Pete Candoli, and the leader himself. *Scott Yanow*

Arguably one of the best records cut for the short-lived Mode label in the late 50s – and easily one of the best from trumpeter Conte Candoli too! For the session, Conte front a quartet with Vince Guaraldi on piano, Monty Budwig on bass, and Stan Levey on drums – and Guaraldi's piano style's got a heck of a lot more soul than you'd expect, a detail that brings a nice depth to a session that might have been otherwise lightweight – and which comes off with the same strength overall as the pair's outing from the same time for the Crown label. Candoli seems to play about half the tracks with a mute, but still in a style that's more open and fluid than much of his other work from the time. *dustygroove.com*

Side 1

1 - Something For Liza

(Al Cohn)

2 - Walkie Talkie

(Pete Candoli)

3 - Flamingo

(Grouya, Anderson)

4 - Mediolistic

(Osie Johnson)

Side 2

5 - Tara Ferma

(Pete Candoli)

6 - Diane

(Rapee, Pollack)

7 - No Moon At All

(Mann, Evans)

8 - Mambo Blues

(Conte Candoli)

Conte Candoli (trumpet), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders, Hollywood, California, June 1957.

Frank Rosolino Quintet

There's a legend abroad in the music business, and his name is Frank  Rosolino.

The legend that has grown up around Frank is not so much for his music skill, which has been firmly established for many years, but for his inexhaustible energy  and disarming wit which is in motion twenty-four hours a day.

Wherever musicians gather to swap stories of the rigors of the road when traveling with big bands, the fable of Frank is certain to come up and be discussed time and again. To a man, the musicians who worked with  him on the Stan  Kenton band and other travelling units agree that Frank's presence on the stand or in the bus made a difficult condition almost bearable.

We mention this legend to acquaint you with the magnificent philosophy by which Frank Rosolino lives, and which is projected into his music. As a young trombone student in  Detroit some years ago, Frank learned the paradoxical lesson that ragged nerves produce bad music, yet the music business produces ragged nerves. His love for music refused to admit any seamy side, and he resolved to lean on his own good nature when the trips were long and the income rather limited. This novel approach radiated to every musician he worked with who, although unable to match his energy, felt a psycolgical lift from his ceasless jocularity. They felt better and played better because of Frank Rosolino  — and thus the legend was born.

Recording sessions are no exception to Frank's rule of thumb, as his initial MODE release will show. He sagaciously picks tunes and personnel to compliment his unmistakeable trombone style, and remains ever-watchful that the mood of the session is happy and relaxed. This, coupled with his intense sincerity to produce grade A jazz, gives an added bonus to any Frank Rosolino release.

The jazz history of the trombone is a long and distinguished one, and the new departures outlined by Frank Rosolino marks a milestone for that instrument. Not content with aping other styles, Frank has introduced a technical facility which few can match. His impressive jazz sense completes a perfect mold. *Joe Quinn (liner notes)*

This session for the short-lived Mode label remains the zenith of Frank Rosolino's recorded output. Paired with a stellar support unit featuring pianist Vince Guaraldi, tenorist Richie Kamuca, bassist Monty Budwig, and drummer Stan Levey, the trombonist not only delivers some of the most dazzling solos of his career, but also proves himself a gifted composer, contributing a handful of original tunes that fit comfortably alongside standards like Gershwin's "How Long Has This Been Going On?" Largely eschewing more uptempo fare, Rosolino instead favors a simmering, soulful bop approach that champions feeling as much as technique. This is music with genuine emotional heft and intellectual edge. *Jason Ankeny*

One of the best albums on the rare Mode label – and a great quintet side by trombonist Frank Rosolino! The group here features Vince Guaraldi on piano, Richie Kamuca on tenor, Monty Budwig on bass, and Stan Levy on drums – and the sound's a lot harder than you'd expect from the combo. Guraldi's especially rough-edged – with a soulful sound that's quite different than his 60s recordings, one that sounds great next to Rosolino's horn. Titles include "Tuffy", "Fine Shape", "Cherry", "Let's Make It", "Fallout", "Thou Swell", "How Long Has This Been Going On" and "They Say". *dustygroove.com*

Side 1

1 - Cherry

(Daniels, Gillespie)

2 - Let's Make It

(Frank Rosolino)

3 - How Long Has This Been Going On?

(G. and I. Gershwin)

4 - They Say

(Weiss, Mann, Heyman)

Side 2

5 - Fine Shape

(Frank Rosolino)

6 - Fallout

(Bill Holman)

7 - Thou Swell

(Rodgers, Hart)

8 - Tuffy

(Frank Rosolino)

Frank Rosolino (trombone), Richie Kamuca (tenor sax), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded Radio Recorders, Hollywood, California, June 1957.

Richie Kamuca - Jazz Erotica

Jazz Erotica is a title conjured from Eros, Greek goddess of Love. If you're a lover of jazz, Jazz Erotica is a MUST for you. If you're just a lover, try looking at the cover illustration as you play this album – you'll get the message. 

The group reads like the roster of Who's Who in modern jazz! Richie Kamuca gets from his saxophone the sounds which are rapidly bringing him to the top. Conte Candoli and Ed Leddy play a pair of faultless trumpets. Frank Rosolino's trombone is the most. Vince Guaraldi's precision piano is at the right place at the right time. Monte Budwig's bass solos frequently, and the drum beat of Stan Levey is urgent, exciting. 

Bill Holman does the arrangements and his antics on baritone are almost unbelievable. Two interesting originals by Bill Holman are "Blue Jazz" and "'Way Down Under". They have the Holman touch, a large credit in itself. Bill's compositions and arrangements are each studied, carefully planned successes; no ad lib, nothing happens by chance. Not too far out, but a long'ways from being square, Bill's arrangements and the polish of this group of top jazz All Stars will send the true lover of jazz, and pique the interest of the jazz novice.

As you play this album, your room will become alive with brass sounds that ARE brassy; drum and brush sounds that seem to be right there; and the full bass beat that is so important. *(Liner notes)*

Richie Kamuca recorded less than a dozen dates as a leader prior to his death (one day shy of his 47th birthday) in 1977, and this long out of print LP release by HiFi in 1959 may be the hardest one to find. The tenor saxophonist leads a strong octet, with trombonist Frank Rosolino, trumpeters Conte Candoli and Ed Leddy, pianist Vince Guaraldi, bassist Monte Budwig, drummer Stan Levey, and baritone saxophonist Bill Holman, who wrote the arrangements, too. The charts are good examples of cool jazz and feature rich ensembles behind the soloists, especially on standards like "Angel Eyes" and "Indiana". "Blue Jazz" (oddly credited to the leader on the label but Holman in the liner notes) and a brisk "Stella By Starlight" feature Kamuca in a stripped-down setting with the rhythm section. Expect to pay a premium price for this LP. *Ken Dryden*

1 - 'Way Down Under

(Bill Holman)

2 - Blue Jazz

(Bill Holman)

3 - Angel Eyes

(Matt Dennis, Earl Brunt)

4 - Stella By Starlight

(Victor Young, Ned Washington)

5 - Star Eyes

(Don Raye, Gene DePaul)

6 - I Hadn't Anyone Till You

(Ray Noble)

7 - Linger Awhile

(Vincent Rose, Harry Owens)

8 - The Things We Did Last Summer

(Jule Styne, Sammy Cahn)

9 - If You Were No One

(Bill Holman)

10 - Indiana

(James Hanley, Ballard MacDonald)

#2, #4, #7, #9:

Richie Kamuca Quartet

Richie Kamuca (tenor sax), Vince Guaraldi (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Vista de Oro Studio, Los Angeles, California, May 26, 1957.

#1, #3, #5, #6, #8, #10:

Richie Kamuca Octet

Richie Kamuca (tenor sax); Conte Candoli, Ed Leddy (trumpets); Frank Rosolino (trombone); Bill Holman (baritone sax); Vince Guaraldi (piano); Monty Budwig (bass); Stan Levey (drums).

Recorded at Vista de Oro Studio, Los Angeles, California, May 27, 1957.

Arranged and conducted by Bill Holman 

Conte Candoli - Little Band • Big Jazz

Best-known as the trumpet section leader in Doc Severinsen's Tonight Show Band, Conte Candoli was a fine all-around jazz stylist most at home in the worlds of bop and West Coast cool jazz. Younger by four years than his similarly accomplished trumpet-playing brother Pete, Conte was born Secondo Candoli in Mishawaka, IN, on July 12, 1927. He first patterned himself after players like Harry James, Roy Eldridge, and Dizzy Gillespie, later discovering Miles Davis and Clifford Brown. His first job came at age 16, when brother Pete recommended him for a summer gig with Woody Herman's Thundering Herd; after graduating high school, he joined full-time. He went on to play with several other bands, including Stan Kenton, whom he left in 1954 to form his own band. After leading some recording dates, he soon found a more comfortable existence, moving to Los Angeles and taking session jobs in between gigs with Howard Rumsey's Lighthouse All-Stars. After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Pete both enjoyed top-dog status in the L.A. session community. In 1968, Candoli took a part-time gig with the Tonight Show Band and joined permanently in 1972, when the show officially moved to Burbank. During the '70s, he was also a member of Supersax, among other L.A. all-star outfits, and also continued his periodic collaborations with his brother. Candoli retired from the Tonight Show along with Johnny Carson in 1992, and continued to play until a battle with cancer slowed his activities. Candoli died in a convalescent home on December 14, 2001.

Opportunities to lead his own record date have been surprisingly rare through the years for the talented bop trumpeter Conte Candoli. This obscure LP is one of only two albums Candoli headed during 1958-84! Candoli teams up with other West Coast players of the era (tenor saxophonist Buddy Collette, pianist Vince Guaraldi, bassist Leroy Vinnegar and drummer Stan Levey) for six of his fairly basic originals including such numbers as "Muggin' The Minor", "Mambo Diane" and "Countin' The Blues". *Steve Huey*

Side 1

1 - Muggin' The Minor

(Candoli)

2 - Mambo Diane

(Candoli)

3 - Countin' The Blues

(Candoli)

Side 2

4 - Zizanie

(Candoli)

5 - Macedonia

(Candoli, Guaraldi)

6 - Little David

(Candoli, Guaraldi)

Conte Candoli (trumpet), Buddy Collette (tenor sax), Vince Guaraldi (piano), Leroy Vinnegar (bass), Stan Levey (drums).

Recorded in Hollywood, California, February 3, 1960.