Pete Candoli - Musical Style

Musical Style

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.

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.

Candoli performs sublimely on the two Mancini Peter Gunn albums, albeit as only one of similarly adroit group of musicians. He and his brother Conte were often seen playing in the background during scenes in "Mother's" nightclub. Most of Candoli's best solos are rather short. One of his best longer solos was wasted in the Peter Gunn medley on a forgettable concert album of Mancini's. It is an almost quintessential Pete Candoli performance in the staccato-to-climax mode described earlier. He is also the attributed soloist for the superb high-note work in the "Dance at the Gym" sequence in the movie version of West Side Story.