Alexander Emil Caiola was born in Jersey City, New Jersey to Emil Caiola and Genevieve Esposito. His father was employed as a barber.[4]
At a young age, Caiola first expressed an interest in a musical career solely as a vocalist. He was soon persuaded by his father to also pursue professional opportunities as an instrumentalist instead. This led Caiola to take up the banjo and subsequently the guitar.[5][4]
By the age of 11, he emerged as a child prodigy on the guitar and undertook formal studies with Anthony Antone in New York City and subsequently with the guitarist Peter Milano in Jersey City. As a young teenager, he was influenced by the performances of Eddie Lang and Bing Crosby and studied Lang's method book for guitarists closely. By the age of sixteen he appeared as both a vocalist and guitarist on the children's radio program Sally and Sam in collaboration with Tony Mottola. During this time Mottola encouraged Caiola to master new performance techniques.[5][4]
After returning from military service during World War II, Caiola pursued formal musical studies at the New Jersey College of Music. Over the years, he also completed studies with the guitarist Harry Volpe.[6][5]
After returning from the war, Caiola embarked upon an extended engagement as a staff musician on the CBS network from 1946 until 1956. As part of his audition, he was required to appear on shows with Gordon MacRae, Archie Bleyer and the vocalist Patty Clayton. After signing with CBS, Caiola also collaborated on several major network TV productions with Arthur Godfrey (Talent Scouts), Ed Sullivan (Toast of the Town) and Jackie Gleason (The Jackie Gleason Show) under the direction of the conductor Ray Bloch.[5]
Caiola was also a successful studio musician in the 1950s in New York City. He released some minor records under his own name in that decade. In addition, he performed under the musical direction of John Serry Sr. on an easy listening album for Dot Records in 1956, which received favorable critical reviews in The Billboard magazine and The Cash Box magazine.(Squeeze Play).[7][8][9][10] Later in the decade in 1959, his collaboration with Tony Mottola and Johnny Mathis on the smash album Open Fire, Two Guitars for Columbia Records also received favorable reviews.[11][12]
Caiola released singles and albums throughout the 1960s and beyond, though no others appeared on the charts except for an entry in 1964 with "From Russia with Love". United Artists used him to make commercial recordings of many movie and TV themes: "Wagon Train (Wagons Ho)", "The Ballad of Paladin", "The Rebel", and "Gunslinger". His album Solid Gold Guitar contained arrangements of "Jezebel", "Two Guitars", "Big Guitar", "I Walk the Line", and "Guitar Boogie".[19]
The Magnificent Seven album, other than the title track, consisted of a variety of pop songs with a jazzy bent. Guitars Guitars Guitars was similar. There was a wide variety to his albums — soft pop, Italian, Hawaiian, country, jazz. In the early 1970s he continued on the Avalanche Recordings label, producing similar work including the album Theme From the 'Magnificent 7 Ride' '73. Later, on other labels, came some ethnic-themed instrumental albums such as In a Spanish Mood in 1982, and Italian instrumentals. In 1976, Caiola accompanied Sergio Franchi, Dana Valery, and Wayne J. Kirby (Franchi's musical director) on a concert tour to Johannesburg, South Africa.[citation needed]
At the urging of the talent agency Ashley-Famous, Caiola appeared in concert in Las Vegas during the 1960s in addition to operating his own music publishing firm Alpane Music. He is credited with serving as both an arranger, conductor and soloist on many of his recordings.[20] In later years, Cailo continued to perform and even toured with Frank Sinatra in 1991.[21] During the course of his professional career, Caiola also performed under the musical direction of several leading conductors including: Percy Faith, Morton Gould and Andre Kostelanetz.[21]
Death
Caiola died in Allendale, New Jersey, at the age of 96.[22]
Performance style
Al Caiola has been described as an artist who projected a "light" or "liquid" touch during his performances on the guitar. His pianist, Mo Wechsler observed that he was a versatile well rounded musician who was comfortable playing either jazz, rock and roll and even classical music.[21]
^Selvin, Joel, Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues, Counterpoint, Berkeley, California, 2014 p. 372
