CONTE CANDOLI [Sincerely, Conte] BETHLEHEM 10" [BCP-101

$

50

1954 BETHLEHEM Records BCP-1016
DEEP GROOVE * MONO ORIGINAL 10"
with:  Claude Williamson Max Bennett * Stan Levey

*

VINYL is VG nice copy! great shape for it's age some light hairline marks,  nothing severe or  that can be felt
 COVER is VG  surface/edge wear age spots, lamination peel


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**** Those of you who are not familiar with 10" collecting, should be made aware that though the vinyl quality is  generally heavier & can withstand more handling, most 10" Lps were issued without inner sleeves & can have more surface wear than 12" lps. Additionally, the sound quality in some recordings  may be lacking due to "live" recordings & microphone placement. Most collectors seek out these records for their historical importance or completists who are looking to fill out an entire discography.  Please keep this in mind when bidding & remember that all of our products are 100% guaranteed & may be returned for a no-questions-asked refund if dissatisfied.
****

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A fine session by this mainstream/bop trumpeter. * 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 andClifford Brown. His first job came at age 16, when brother Peterecommended 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 withHoward Rumsey's Lighthouse All-Stars. After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Peteboth enjoyed top-dog status in the L.A. session community.

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