Pompilli was born in Chester, Pennsylvania.
Occasional sources spell his first name as "Rudi", although Pompilli himself never used this form.

Pompilli was skilled at playing both saxophone and clarinet, and spent the beginning of his career playing in jazz bands.
In 1953 he was with the Ralph Marterie Orchestra.
That orchestra coincidentally scored a hit with a cover version of Haley's "Crazy Man, Crazy", though research by Haley historian Chris Gardner found no evidence that Pompilli performed on that recording.

Pompilli was invited to join the Comets in September 1955, after Haley's previous sax player, Joey Ambrose quit along with two other Comets to form The Jodimars.
According to Haley, the young horn player had a dislike for rock and roll musicians, but he nonetheless accepted the offer.
Ambrose gave Pompilli a crash course in the Haley style of saxophone playing, and he also learned the stage antics pioneered by Ambrose and bass player Marshall Lytle, including playing the sax while lying flat on his back and jumping all over the bass player. (
Lytle also left for the Jodimars and was replaced by Al Rex.)

At Haley's request, the new band member changed the spelling of his last name from "Pompilii" to "Pompilli", as Haley was concerned that the former looked like a typographical error.
Pompilli also frequently used the alias "Rudy Pell" and many of his autographs from the 1950s have this name rather than Pompilli.

Within a few months of joining The Comets, Pompilli had become the band's most visible member (aside from Haley himself), becoming the focus of "Rudy's Rock", a show-stopping instrumental co-written by Pompilli and Haley that debuted in the 1956 film Rock Around the Clock.
When released as a single, "Rudy's Rock" reached #34 on the Billboard singles chart and #38 on the Cashbox Top Singles list, spending 4 weeks on that chart, and making it the first instrumental record of the rock and roll era to chart.
Other acclaimed, but less commercially successful instrumentals followed, most notably "Calling All Comets" which was performed in the band's next film, 1957's Don't Knock the Rock.

In 1958, Rudy's cousin, Al Pompilli, joined the Comets for a year, playing bass after the departure of Al Rex.

Rudy Pompilli co-wrote the hit "Week End" with Franny Beecher and Billy Williamson, which reached No.
35 on the Billboard pop chart when released as a single in 1958 as by The Kingsmen on East West Records, East West 115.
He also co-wrote the B-side, "Better Believe It", with Johnny Grande and Ralph Jones.
A follow-up single was released on East West, "Conga Rock", written by drummer Ralph Jones, backed with "The Catwalk", written by Franny Beecher and Billy Williamson, as East West 120.
Pompelli composed the hit "Florida Twist" with Anthony Caruso, which reached No.
3 as an Orfeon 45 on the Mexican pop singles chart in 1962 based on the Billboard Hits of the World chart. "
Florida Twist" has since become a party standard in Latin America and has been covered by many artists in rock and roll, Tex-Mex and other genres.

Bill Haley's band would undergo many changes of personnel over the next two decades, but the one constant was Rudy Pompilli, who would become the band's road manager, taking care of paying the bills and arranging for the hiring of new musicians when required. (
Pompilli did briefly quit the Comets during 1960-61 and was replaced by Al Dean, but soon returned to the band.)
Pompilli also did solo work, performing regularly in Philadelphia area night clubs, either by himself or with members of the Comets.
Pompilli was born in Chester, Pennsylvania. Occasional sources spell his first name as "Rudi", although Pompilli himself never used this form.
Pompilli was skilled at playing both saxophone and clarinet, and spent the beginning of his career playing in jazz bands. In 1953 he was with the Ralph Marterie Orchestra. That orchestra coincidentally scored a hit with a cover version of Haley's "Crazy Man, Crazy", though research by Haley historian Chris Gardner found no evidence that Pompilli performed on that recording.
Pompilli was invited to join the Comets in September 1955, after Haley's previous sax player, Joey Ambrose quit along with two other Comets to form The Jodimars. According to Haley, the young horn player had a dislike for rock and roll musicians, but he nonetheless accepted the offer. Ambrose gave Pompilli a crash course in the Haley style of saxophone playing, and he also learned the stage antics pioneered by Ambrose and bass player Marshall Lytle, including playing the sax while lying flat on his back and jumping all over the bass player. (Lytle also left for the Jodimars and was replaced by Al Rex.)
At Haley's request, the new band member changed the spelling of his last name from "Pompilii" to "Pompilli", as Haley was concerned that the former looked like a typographical error. Pompilli also frequently used the alias "Rudy Pell" and many of his autographs from the 1950s have this name rather than Pompilli.
Within a few months of joining The Comets, Pompilli had become the band's most visible member (aside from Haley himself), becoming the focus of "Rudy's Rock", a show-stopping instrumental co-written by Pompilli and Haley that debuted in the 1956 film Rock Around the Clock. When released as a single, "Rudy's Rock" reached #34 on the Billboard singles chart and #38 on the Cashbox Top Singles list, spending 4 weeks on that chart, and making it the first instrumental record of the rock and roll era to chart. Other acclaimed, but less commercially successful instrumentals followed, most notably "Calling All Comets" which was performed in the band's next film, 1957's Don't Knock the Rock.
In 1958, Rudy's cousin, Al Pompilli, joined the Comets for a year, playing bass after the departure of Al Rex.
Rudy Pompilli co-wrote the hit "Week End" with Franny Beecher and Billy Williamson, which reached No. 35 on the Billboard pop chart when released as a single in 1958 as by The Kingsmen on East West Records, East West 115. He also co-wrote the B-side, "Better Believe It", with Johnny Grande and Ralph Jones. A follow-up single was released on East West, "Conga Rock", written by drummer Ralph Jones, backed with "The Catwalk", written by Franny Beecher and Billy Williamson, as East West 120. Pompelli composed the hit "Florida Twist" with Anthony Caruso, which reached No. 3 as an Orfeon 45 on the Mexican pop singles chart in 1962 based on the Billboard Hits of the World chart. "Florida Twist" has since become a party standard in Latin America and has been covered by many artists in rock and roll, Tex-Mex and other genres.
Bill Haley's band would undergo many changes of personnel over the next two decades, but the one constant was Rudy Pompilli, who would become the band's road manager, taking care of paying the bills and arranging for the hiring of new musicians when required. (Pompilli did briefly quit the Comets during 1960-61 and was replaced by Al Dean, but soon returned to the band.) Pompilli also did solo work, performing regularly in Philadelphia area night clubs, either by himself or with members of the Comets.
Rudy Pompilli