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FRANK ROSOLINO

s far as really being here, weeks has been a complete ball. have. Those I've met and heard in-

A this was my first visit to


Britain. I was here in 1953
with Stan Kenton, which
was just an overnight thing; so
twenty years have elapsed in be-
Also, on a few nights John Taylor
was committed elsewhere; so
Gordon Beck come in to take his
place. He's another really excellent
player. You've got some great play-
clude John Marshall, Wally Smith,
Bobby Lamb, Don Lusher, George
Chisholm. I liked George's playing
very much; he has a nice conception
and feel, good soul, and he plays
tween. I've been having an abso- ers round here! with an extremely good melodic
lutely beautiful time here, and en- They're equal to musicians I sense.
joying London. work with in the States. I mean, it As for my beginnings—I was
Playing at Ronnie Scott's with doesn't matter where you are; once born and raised in Detroit, Michigan,
me I had John Taylor on piano, Ron you've captured the feeling for jazz, until I was old enough to be drafted
Mathewson on bass and Martin and you've been playing it practi- into the Service, which was the latter
Drew on drums. Absolutely great cally all your life, you're a pro at it. part of '44. I started playing guitar
players, every one of 'em. I can't tell I've heard so much about when I was nine or ten. My father
you how much I enjoyed myself, and trombonist Chris Pyne that when I played parties and weddings on
it just came out that way. This met him I asked him if he'd come mandolin, guitar, clarinet and a few
rubbed off on the people, too. When over and play some time. So he sat things; that's where we get our basic
you get musicians of that calibre, it's in one night, and we had a nice time. training, you might say. I used to go
just a happy feeling all the way He sounded beautiful; he's a mar- along and accompany him, until I
round; everybody's just grooving to- vellous musician. It amazes me how was around twelve years old. He
gether. Every night of the three many good trombone players you thought it would then be wise for me

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to go on to another instrument; he Russell was a virtuoso of the violin, good time and swinging. When I
suggested accordion, but—to put it and he's never forgotten that. I think wasn't practising at home, I'd con-
mildly—I wasn't too keen on that! he was playing mostly piano then; stantly be out on dances or whatever.
Actually, it was my brother later he started getting into the vibes. I was a slow starter, as far as
Russell who instigated my playing They had a stage band and a small reading, because I was more into the
the trombone. He suggested it to my group that we could play in; we got horn that I was into that—let's put it
father, and we went to a pawnshop the whole treatment there—it was that way. And I guess, in a lot of
downtown and picked one up. I be- great. The students at the school ways, that’s what made me a better
gan to play it immediately; I didn't were eighty-five to ninety per cent trombone player than I would have
know what I was doing exactly, but I black. So I grew in that environ- been. I wasn't just stuck in the book,
just tried to get a sound. Being mu- ment, with jazz music around me all learning how to read music, pe-
sic in the family, I had an ear; so I the time; this is where I developed a riod—that could be accomplished at
fished around, finding the notes on natural feel for it. a later time. I'm not saying that's the
the horn before I could even read. I guess the music Milt and I proper way to go about it; it's just
Then I took it up in grammar school, were playing in school was consid- the way it happened for me.
and learned the actual positions. ered Swing style; it was the days It wasn't until 1947 that I
Russell used to practise all the when all the bands, like Benny started playing with a professional
time—almost continuously. I used to Goodman, Bob Chester, Gene band. I got out of the Service in
listen to him, and try to mimic on Krupa, were just playing Swing mu- early '46, I believe. I went back to
the trombone what he was playing sic. But there were a lot of jam ses- Detroit, and was working around the
on the violin. I probably owe a lot of sions going on all the time then—a clubs there. Downtown in Detroit,
the technique to that—you know, lot of small groups and places to there used to be a place called the
getting around faster on the horn. play. Before I was really into the Mirror Ballroom, and it became the
We went to school with Milt horn, reading-wise and learning the spot where, when bands would come
Jackson. As a matter of fact, he techniques of arranging and com- in town, they'd come down there to
graduated a year before I did. To this posing, stuff like that, we were just blow. We had some marvellous ses-
day, Milt will ask me, how's my into blowing all the time—getting sions.
brother RusseIl? He remembers that out, playing tunes, and just having a

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One time, members of both the Drop"; I think ours was the first one Yes, right then Krupa was
Bob Chester and Sonny Dunham out. Chubby Jackson and Terry modernising his band; he had
bands came down to play. They Gibbs recorded it with Woody Her- changed a lot of musicians. I joined
heard me, and I was offered jobs man just after us; they had a little shortly after Ventura had been on
with both bands. So then I started more exposure and theirs became the band. I was on records like
putting two and two together, and I more popular. But that was one of "Leave Us Leap". Oh, Krupa had a
figured it was about time I made the the first things I did; I had a ball on great jazz band them, with trumpet
move. I picked Bob Chester, for the that, scat singing and playing. players like Don Fagerquist, Al Por-
simple reason that I thought if I went It seems like all my life I've cino, Ray Triscari and a fantastic
with Sonny Dunham's band I always sung somewhat, from church tenor player, Buddy Wise. It was a
wouldn't be doing much blowing right on down. I always liked other great experience. Gene never had an
there, with Sonny being a trombonist singers, and it's just something I've ego thing going like some leaders;
himself as well as the leader. And enjoyed doing once in a while. I he was always very friendly, very
Bob Chester had put together a sang a couple with Bob Chester` and nice to work with. He's a beautiful
pretty good jazz band at that time; with Krupa I did a few, like "Pennies man.
which I joined—and went out on the From Heaven". Of course, I didn't I can honestly say that I've
road professionally for the first time. do the version of "Pennies From enjoyed every band I've been on.
Then one thing led to another. Heaven" that I do on that "Turn Me You learn from everything. They all
When you start working with a pro- Loose" album, and the way I used to have their own style, and I chalk it
fessional band, you're touring sing it with Stan Kenton. That was a all off as worth-while experience.
around, meeting different musicians, pure accident, really. I was clowning I stayed with Krupa about a
and the word gets about that there's a around one day in front of the year-and-a-half; then I moved on to
new trombonist or a new soloist on Kenton band, and all of a sudden I some small groups. I worked with
the scene. From there, in 1948, I had started scat singing and yodelling. Herbie Fields for about a year, had a
an offer to work with Gene Krupa. People flipped over it; so Stan said: job with Glen Gray that lasted about
That's when they were calling "Keep that in!" And I've been stuck six months, followed by a stay with
me Frankie Ross, the Lemon Drop with yodelling for twenty years! Georgie Auld. Then Tony Pastor—
Kid. We did a recording on "Lemon that was another short spell, because

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it wasn't really a jazz band. Still, I are, and the kind of music they pro- That was the band that came to
enjoyed that. From Tony Pastor, I duce. Today, Stan's pretty much that Europe, in 1953. And to this day,
started working with Stan Kenton. way; 1953 was the only time he's everybody says—whether Stan ad-
This was in the winter of 1951. really had a jazz band—and I was mits it or not; I think he does—that
I'd gone back to Detroit, and Stan fortunate enough to be on it. as far as being a real jazz band, it
had brought the band to work at an He had practically all jazz so- was one of the best bands he's ever
amusement park. They were looking loists on that band. In the sax section had. It really created some noise all
for a jazz trombone player—a trom- were Bill Holman, Richie Kamuca, over the country. At that time we did
bone player, period, I guess—and Zoot Sims, Lee Konitz. Baritone that album "Prologue"—you know,
they asked me to sit in. Apparently, man Bob Gioga was about the only where he narrated and introduced
Stan liked what he heard, since I got player who'd been on the original each soloist. Which was kind of a
the job. band; he was there from practically fresh idea; something that had never
I stayed with Stan for three beginning to end, until he retired been done before. Among the great
years, leaving finally in '55. That eight or so years ago. In the trumpet recordings we made, that one did
was a great time; Stan gave me a lot chairs were Conte Candoli, Al Por- particularly well. That become a sort
of exposure—as he does all the so- cino, Ernie Royal and Maynard of a legendary riff that I played there
loists he usually has. He did a lot for Ferguson. On trombone he had Bob on "Prologue"; it seems to have at-
me; he enabled me to make a pretty Fitzpatrick, myself, George Roberts, tracted the attention of a lot of trom-
good name. Bill Russo. Then Bobby Burgess bone players. I didn't know what I
About 1953 is when it really joined a little later, and I believe he was doing—it was just the way it
happened—that's when the band and Fitzpatrick were splitting the came out!
took a new turn. It wasn't what you'd lead; when Fitzpatrick left, Bobby A true jazz chart has that cer-
call a real hard jazz band when I first took over the lead chair. Stan Levey tain conception and feeling; to me,
joined; it was just the Stan Kenton was our drummer, Don Bagley was they felt much more comfortable
that you always hear. Almost a semi- on bass, Sal Salvador on guitar; than playing some of the semi-
classical jazz, to a certain extent. Ralph Blaze was on the band for a classical things, which didn't feel as
Well, that's Stan's bag; everybody while, and was replaced by Sal. natural. I loved Bill Holman's
appreciates a person for what they swinging charts, as opposed to a guy

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like Bob Graettinger, who was and there. That's been great, and into a jazz solo, it would take on that
writing some pretty heavy music. Or people that go to see him expect this feel. So you could stretch out—it's
Bill Russo—although he could write kind of show from him, and he en- just that there was more of it when
things that really swung, too. A per- joys it, too. Not that Stan didn't en- he had the full jazz band.
fect example was that "Frankly joy that '53 band—he loved it, but it I didn't leave the band through
Speaking" he did for me; in fact, that was out of the context associated any feeling of being restricted. It
surprised me, because the charts by with him by the average public; let's was just that the band had folded,
Bill Russo we'd been playing were put it that way. Of course, the avid and we all went our own different
more on the heavy side. I really jazz fans were tickled to death when ways. I went back to Detroit for a
liked that arrangement; it turned out they heard Stan's band at that time. little bit; then I had the offer to work
real good, as a showcase for me. I His real sound is the one he's kept at Howard Rumsey's Lighthouse
think that was recorded before we going—featuring more brass than club, Hermosa Beach. And that's
got into the Bill Holman things, anything else. That's what makes the what started my life in California. I
really. After that, Russo was asked world go round, I guess—different ended up in California in the latter
to do an album of arrangements on types of music and players. If every- part of '55 and I've been there for
some standard tunes, which were body played the same thing, it would eighteen years.
meant to be more a jazz type of be kinda boring.
thing, and he did a fine job. He's I enjoyed the other part of it, LIFE IN HOLLYWOOD
pretty versatile; I don't put him in too—not only the swinging part of
the same bag as Holman, naturally, it. It was all good; not for just the For the first four-and-a-half
because Holman was just a jazz experience alone, but to play some years, after I moved to California at
writer, period. other music, and hear these beautiful the end of '55, I worked at the
Sure, Stan has talked more in sounds coming out. That was nice. Lighthouse with Howard Rumsey.
terms of "jazz" in latter years. But I In any case, he did it in such a way The club is still going strong—it's
still say the main bag that he's al- that he still left it open in spots, so been in operation for twenty-five
ways been noted for is not hard-core that the soloists he had were given a years now, and at one time or an-
jazz; it's more a concert/symphonic chance to play. He would change the other has had practically every jazz
approach, with jazz inflections here mood; whenever you wanted to get musician working there. Howard
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Rumsey isn't there any more; he's Cooper on tenor and oboe. Plus my- Cannonball, and maybe he'll record
taken over another club, called Con- self on trombone. Then later on, it." That was when he was working
cert By The Sea. That's in Redondo, Conte Candoli joined the group for a with the Adderley band; he had been
which is the next city over from while; also Jimmy Giuffre, who on a short layoff. So he took it back
Hermosa Beach; it's about an eight- wrote some beautiful charts for us. to Cannonball; next thing I heard, it
minute drive away. He's doing ex- Victor Feldman came in on piano; was on a record. Through that, peo-
ceptionally well; it's a very nice then he started playing vibes—he ple started hearing about it, and it
club, and he's bringing name groups had them set up there, and he'd be got quite a bit of play around. Shelly
in there. using both. Manne and Phineas Newborn put out
The Lighthouse has been taken That's when I first met Victor, records on it; they did beautiful jobs.
over by Shelly Manne`s partner, who I dearly love. I think he's an ab- I'm the only one who hasn't recorded
Rudy. Because Shelly's Manne-Hole solutely beautiful person, let alone it !
closed down; I understand the music being one of the greatest musicians The studio scene started for me
was leaking into a studio right next of all time. He happens to be one of on my arrival in Hollywood. Actu-
door. It was Wally Heider, a great A my favourite piano players. There's a ally, while I was working at the
& R man and a good friend of a lot guy who's a master of everything; if Lighthouse I was doing a lot of stu-
of musicians, who took over the stu- he wasn't, guys like Cannonball Ad- dio work as well. Most of your stu-
dio; so they finally got together on derley and Miles Davis wouldn't be dio work is done during the daytime;
it. Shelly is in the process of finding employing him. We have become so the calls don't conflict with the
another location. I think he might very close, good friends; we play job at night. And at that time there
have found one. golf together regularly. was a lot of jazz being played on re-
We had some marvellous play- Also I owe it to Victor Feld- cording sessions. That's how it
ers during my time at the Light- man that my tune "Blue Daniel" did started—well, I just left myself open
house. It started out with Claude so well. We were working a casual for anything that came around. They
Williamson playing piano, with engagement one time, and when I would call me to do solo work on
Howard Rumsey, of course, on bass, played this jazz waltz of mine for various dates, and I started getting
and Stan Levey on drums. Bud him, he fell in love with it. He said: into motion picture work, live TV
Shank was on alto and flute, Bob "Man, write that out; I'll give to and stuff like that.

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I was on the Sinatra movie, it; that was the first time that we had Then he just times it, and puts it all
The Man With The Golden Arm— been under his baton in America— together. It came out real great; in-
that was Shorty Rogers' orchestra at everybody loved his writing. Mar- stead of just hearing the band play-
the time. Then I did I Want To Live vellous. ing all the way through, it left it
with Susan Hayward; that score by Those are the major ones that much more free.
Johnny Mandel almost made you I've been featured on. Oh yes—and I've known Quincy and been
cry—it was so pretty. I really en- more recently I got. screen credits as working for him off and on for many
joyed playing that, and being in the well on The Hot Rock (released here years: he usually calls me to work on
night-club scenes, in a group with as How To Steal A Diamond). Rob- his sessions. Also albums, like
Gerry Mulligan, Art Farmer and ert Redford starred in it; Quincy "Walking In Space"—that turned out
Shelly Manne. A lot of times, on Jones was the writer. It was a good to be quite a popular one. Jimmy
these picture calls, they'll take a movie and a good score, featuring Cleveland has a beautiful solo on
quick shot of somebody blowing, Clark Terry, Gerry Mulligan and that—he's a great trombone player,
and that's it, but on this particular myself. That was kinda interesting, as you know. Jimmy's in Hollywood
picture they really held the camera the way we just went in the studio now, of course, and he looks fine,
on the musicians. Well, it won the and recorded it. Quincy's amazing— and young—he always takes care of
Academy Award, you know—not the way he comes up with things. He himself pretty well. He's a very kind,
because of our appearance on it; it more or less just writes a guide-line humble, beautiful man. We have the
just turned out to be a great movie. for you to go by; in other words, pleasure of working together quite a
Of course, Susan Hayward is a everything isn't completely written bit, such as on the Merv Griffin
beautiful woman; I've always had a out. He leaves the freedom for the Show, which is sort of a talk show,
crush on her. musicians to be creative. It's a good like Johnny Carson and Steve Allen
Then I did one for one of your idea, in a lot of ways. Instead of used to do.
arranger/composers here, who hap- body, or jazz-licks here and there, he Jimmy Cleveland and I also
pens to be a great writer—Johnny leaves it up to the soloists to go worked a three-week engagement at
Keating. It was the movie Hotel, and ahead and do it on their own. He a place called the Century Plaza,
I play a love ballad on it, behind a might have a certain theme in mind; along with Kai Winding and Bobby
love scene. I was real proud to be on you just build around that theme. Brookmeyer. Kai has all these ar-

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rangements written for four and five going some place and actually play- always go out of our way to find a
trombones; so whenever he has the ing with a group. jam session and get more loose. All
opportunity to appear somewhere Not that there weren't times the time I travelled on the road this
and work with it, he does. A lot of when I worked at home, but it's been was the feeling. There was hardly
those charts were recorded before I more the other way around; I was ever a time that. we didn't get the
started working with them; then, of out playing all the time. I've been word. There would be musicians
course, we added some new ones. fortunate enough to keep working, who would approach you, too: ”Hey
We haven't made a record of this and so I don't feel that I have to man, would you like to come out
particular group, but it was a real come home the next day and practise and blow after the gig?" You'd say:
joy, with all the players just digging for three or four hours. I just owe it "Yeah, crazy." It worked both
each other, and having a ball. to being devoted to playing as much ways—we were looking for a place,
jazz as I can. A jazz player will do and they wanted us to play.
My facility on the instrument this; you can talk to most of 'em who To be perfectly honest, I was
is natural to a certain extent, but you are soloists in jazz, and really into it, never conscious of developing a
have to develop it. You can't just say they're always interested in knowing particular style; it just turned out that
that a guy's a natural, and he gets up where you can go and play. that was my way of playing. Not that
and just starts playing all the stuff. Even when you're on the I haven't listened to other players—
It's just from playing constantly. road—you'd think you'd have had you have to, to learn anything about
Every opportunity that I ever had in enough of a night, working four it in the first place. I leave myself
my life to play jazz, I would play. hours with a band—right away, it’s: open to listen to all players; even
I'm always there. If there's a place to "Are there any jazz clubs in town?" when I was younger, I just didn't
go after the job, I'll go. I always put Let's face it, when you're playing listen to trombone players, period.
in a lot of time playing—not neces- with a big band you're sort of lim- For one thing, I've always thought in
sarily sitting home practising eight ited, as far as being completely free terms of playing like a tenor
hours a day, as you hear guys saying to play as much as you would like to player—more so than like other
you should. For some reason, I just play. You can play to your heart's trombonists.
can't discipline myself to sit by my- content when you're out somewhere However, there have always
self and practise. I feel more inspired blowing with a small group. So we been trombone players I admired. At
an early age, before the bebop era
Frank Rosolino Page 8 of 12
started, I listened to Jack Teagarden, Of course, there was Bill Har- very melodic, he has a beautiful
Dickie Wells, Lawrence Brown, ris—he was a great influence on me. sound, great feeling and everything.
Tommy Dorsey. Of course, the way In fact, I have a recording that I He was a fantastic player, and still is
I play now, you'd never know that I made while I was in the Army, on today, although he doesn't care to
was ever an appreciator of the Dor- "Rocking Chair"; I did it at a USO play that much any more—he's into
sey style, but I've always loved the building, when playing with a band writing. But every time he picks that
way he played. I admire any good there—if you heard it today, you'd horn up, though, he sounds as good
musician, no matter what bag they're swear it was Bill Harris. It was easy as ever to me—I don't see any
playing in—as long as it's done well. for me to mimic him, because I was problems in his chops at all. I first
Naturally, being more involved in playing with a lip vibrato at the time, heard him after the Bill Harris days;
jazz, I'm going to be leaning in that too; I'm sort of using a combination the bebop era, that was when J.J. got
direction. Right from the time I of both now. But that's how much I into it. I was still involved in playing
started going to school, I was a jazz really loved the way he played. with bands around that time, and J.J.
player. This was my way of life, you Actually, Bill Harris was one was getting the exposure, working
know. of the only trombone players whose with different groups.
Another great improviser on solos and stuff I could really mimic. Although I did have a wonder-
the trombone was Jack Jenny; he His style was different and exciting; ful experience in the latter part of '47
played some wonderful things in his I really got into that deep, you know. and in '48, before I joined Gene
time. Everybody knows his "Star- I used to listen to him and admire Krupa. I was living in New York,
dust"—that was a beautiful solo he him so much that I wanted to imitate working my card out—which means
had on that. There were others; there him, so I could see what he was into. that you have to wait three months
was a guy I heard by the name of Then later on I went on and started before. you can get a steady job; in
Dick Le Fave, that no one even doing my own thing. Yes, I guess to the meantime, you just wait that
knows about. He happened to be a a certain extent I hear players now time out, and you only work casuals.
great jazz trombone player; he was who are using the same approach as I wasn't actually going to school at
working with Sam Donahue's band mine, so to speak. Juilliard, but I was living right next
at one time. One of my favourites is J.J.— door to it, at the Claremont Hotel.
I've always loved his playing. He's And I used to hang around the

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school a lot, and play with the band thing for me—I was really getting be within you. Once it's part of you,
there—everybody thought I was a into it. that makes it that much easier to
student at Juilliard! Of course, another thing I produce it out of the instrument.
I used to go in town all the did—I've always had my ear glued Yes, it becomes a language you've
time, on 52nd Street. The bebop era to the record player, listening to learned.
was really pretty strong then, and I Bird, Miles, whoever was popular I really emphasise that also
used to go and sit in at these clubs. and up-to-date at the time. Once in a when I do clinics around the coun-
Charlie Parker would be working at while I take on students, and I tell try. The Conn Corporation sets them
the Three Deuces with Erroll Gar- 'em to listen as much as possible, as up. I also get direct calls from the
ner, Oscar Pettiford and J. C. Heard. well as taking what I or any teacher band directors at the various col-
I mean, for these guys to let me sit in might give them just to practise. I leges. Which is a beautiful thing—I
with 'em—I felt quite honoured, and think listening has a lot to do with really enjoy doing them. You work
very happy to be a part of it. And I the way you're going to end up with these kids, you bring arrange-
guess I was just bold enough to ask playing, because it tells you the ments to them, you rehearse them.
'em, because I wanted to play: I just whole story right there, and it gives You do a clinic in the afternoon,
felt the vibrations. Once they heard you the feeling that you want to when you play for them, explain
me, I was always welcome. They project as a jazz player your techniques; then you appear on
would never say: "No, you can't to- The more you can listen to a a concert with their band in the eve-
night". It was "C'mon, Frank"— player—the more you listen to mu- ning.
Charlie and Erroll were beautiful sic, regardless of what music you When I tell them about playing
that way. Oh, I'll never forget those want to get into—it really helps. It's at every opportunity, they always
days. helped me a lot. Just listening con- say: "Well, it's difficult for us to try
Then at Birdland, there'd be stantly—then it gets in your brain, to get guys together." I say: "If you
groups playing in there—Miles, and you're starting to think in those want it to happen, you'll make it
Max Roach, Charlie Parker, Dizzy terms. You know, the riffs, the licks, happen. If what you really want to
Gillespie—and occasionally they'd the solos they're playing, the way do is become good jazz players,
have me sit in with them. That was they're phrasing it, the feeling that's learn how to improvise, and get
sort of the beginning of the bebop coming out. Automatically, then, it'll around your instrument, you'll find a

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place. I'm sure you can get together just hard rock, period—they get into One of these days another
at some-body's house and blow, a variety of moods. They'll be trombone player's going to create
maybe once or twice a week, like we cooking for a while, then they'll something, and you'll say: "Gee,
used to do." move into the freer type of thing— man, I never heard anything like that
I guess what they meant is: actually, they're open to it all. In the before." There's never any end to it.
probably because of the rock field. future, I think there's going to be a At one time the trombone wasn't
In the rock bag, guys don't get to- big market for new leaders, new jazz even considered a solo instrument—
gether and blow. In contemporary groups in the business, which will and look what can be done with it
music and bebop, it was the thing for include the jazz/ rock bag as well. today.
us to do. In rock, it seems like they'll There's getting to be some fine play- My most recent recording is
just rehearse for an engagement, or ers coming out of it, because now one I did in Rome, with Conte Can-
something like that. But regardless they're starting to get into the in- doli and a rhythm section from Italy.
whether it's a rock bag or not, I tell strument. It's not just guitars and It turned out beautiful; we're very
'em: as far as being an improvising singing, period, and music blasting happy with it. It's with RCA, and it
soloist and actually playing, you're you out of the place. It's become should be distributed any time now.
still going to have to do that, any- more musical—which is good to The most recent one I've done in
way. hear. America is not under my own name.
Listening has a lot to do with Music goes on and on. I hear It's a group that I've been using for a
the way you're going to end up this remark once in a while: "What long time, comprising myself, Conte
playing. It tells you the whole story else can be done on the horn?" Candoli, Don Menza, Frank
right there, and it really gives you Well—I've heard things that other Strazzeri on piano, Gene Cherico on
the feeling you want to project… guys might do, and I come up with bass, and Dick Burke on drums;
Because the rock bag is getting things myself, that sometimes are when we have an opportunity to
to a point now where it's much more accidental, and say: "Hey, I like that; work clubs in the Hollywood area, I
musical—the jazz/rock idiom, you I never thought of this before"—a use pretty much the same guys. But
know. And I see this, working these different approach. I don't know Frank Strazzeri had a chance to do
clinics; you've got these young kids where it's going to go, or what it's some taping; for possible sale to a
writing great compositions. It's not going to be. record company. They were all his

Frank Rosolino Page 11 of 12


compositions, and I can't tell you geles, because he's working the Conte Candoli. He's listened to
how absolutely beautiful the charts Johnny Carson shows: Yes, he's one Dizzy, Miles and all of 'em, but re-
are—you'd have to hear them. I'm of my all-time favourites. He's al- gardless of who you listen to, it
glad I did it, because it's representa- ways been a genuine jazz player, and doesn't mean you're going to play
tive of my present-day playing. with the fact that we've been very exactly like them. He really has a
Conte Candoli would have close friends for so many years, we recognisable, personal way of play-
probably played with me on my re- play together as often as we possibly ing.
cent Ronnie Scott's engagement, if can. Oh, I love the way Conte plays.
he hadn't had to get back to Los An- When you hear him, you know it's

Frank Rosolino Page 12 of 12

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