Hey Look Us Over - The Holiday City Hot Cha Kitchen Band

It's A Sin To Tell A Lie/Cross My Heart

Hey Look Us Over
The Holiday City Hot Cha Kitchen Band
A Joe Wheeler Production
Cover Photo: Dave Johnson
Album Design: Forlenza Venosa Associates
Jotone JTS 680

Tenor Sax and Drums: Tommy Marshall
Guitar and Valve Trombone: Paul Martone

From the back cover: We at Holiday City are proud of the ladies of our Holiday City Hot Cha Kitchen Band. They reflect the will, spirit and atmosphere here at Holiday City. They also demonstrate to all of us what can be accomplished at any age.

Welcome From Holiday City
Sweetheart Mountain
If You Knew Suzie (Like I Know Suzie)
Darktown Strutters Ball
It's A Sin To Tell A Lie/Cross My Heart
Till We Meet Again
I'm Looking Over A Four Leaf Clover
Lovely Little Lady
Silve Bells and Sliver Hair
I'm A Yankee Doodle Dandy/You're A Grand Old Flag
The Gang That Sang "Heart Of My Heart"/That Old Gang Of Mine
Hey Look Me Over
God Bless America

All Star Color TV Review - Vic Damone and Lawrence Brooks

A Pretty Girl Is Like A Melody

All Star Color TV Review
Vol. 2
Starring Vic Damone and Lawrence Brooks
Allen Roth Orchestra
Glenn Osser Orchestra
Fritzi Scheff and Joe Howard and The Diamond Horseshoe
Hollywood Records LPH-126
A Blue Ribbon Product
1957

Always
Missouri Waltz
A Pretty Girl Is Like A Melody
Remember
April Showers
Easter Parade
Beautiful Dreamer
Come Where My Love Lies Dreaming

Martians Come Back! - Shorty Rogers

Martians Come Back!
Shorty Rogers & His Giants
Cover Photo: William Claxton
Cover Design: Burt Goldblatt
Supervisor: Nesuhi Ertegun
Engineer: John Kraus, John Palladino
Recorded during November and December 1955 in Los Angeles
Atlantic Recording Corporation
Atlantic 1232
1956

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

Personel: Shorty Rogers, Harry Edison, Conte Candoli, Pete Candoli, Don Fagerquist, Bob Enevoldsen, Johnny Graas, Paul Sarmento, Jimmy Giure, Bud Shank, Barny Kessel, Lou Levy, Earl Grey, Pete Cera, Ralph Pena, Leroy Vinnegar, Shelly Manne

Barney Kessel & Shelly Manne appear by arrangement with Contemporary Records. Bud Shank appears by arrangement with Pacific Jazz Records.

From Billboard - August 18, 1956: Here's an interesting and swinging new disk that features Rogers in a variety of groupings. In only one is the entire nine-man "Giants" crew featured, but there is a lot of satisfying listening in the quintet and septet line-ups as well as the group featuring a four-man trumpet ensemble, backed with rhythm. Solid performers include Candolis, Fagerquist, Kessel, Manne, Edison, Vinegar, Pena and, of course, Rogers himself on trumpet and flugelhorn. A highly commercial jazz package with an imaginative cover worth plenty of display.

Martians Come Back
By Shorty Rogers
Shorty Rogers, trumpet; Jimmy Giuffre, clarinet; Low Levy, piano; Ralph Pena, bass; Shelly Manne, drums

Astral Alley
By Shorty Rogers
Shorty Rogers, Harry Edison, Conte Candoli, Pete Candoli, Don Fagerquist, trumpets; Dark Grey, piano; Ralph Pena, bass; Shelly Manne, drums

Lotus Bud
By Shorty Rogers
Shorty Rogers, fluegelhorn; Jimmy Giuffre, clarinet; Lou Levy, piano; Ralph Pena, bass; Shelly Manne, drums

Dickie's Dream
By Count Basie & Lester Young
Shorty Rogers, fluegelhorn, Harry Edison, trumpet; Bud Shank, alto sax; Pete Cera, piano; Leroy Vinnegar, bass, Barney Kessel, guitar; Shelly Manne, drums

Papouch
By Shorty Rogers
Shorty Rogers, fluegelhorn; Jimmy Giuffre, baritone sax; Lou Levy, piano; Ralph Pena, bass; Shelly Manne, drums

Serenade In Sweets
By Shorty Rogers
Same Personael as Astral Alley

Planetarium
By Shorty Rogers
Shorty Rogers, fluegelhorn; Jimmy Giuffre, tenor sax; Lew Levy, piano; Ralph Pena, bass, Shelly Manne, drums

Chant Of The Cosmos
By Short Rogers
Shorty Rogers, trumpet; Jimmy Giuffre, clarinet; Bob Enevoldsen, trombone; Bud Shank, alto sax; Johnny Grass, French horn; Paul Sarmento, tuba; Earl Grey, piano; Ralph Pena, bass; Shelly Manne, drums

Explosion Of The Tone Cabinets - Cliff Duphiney

That Old Black Magic

Cliff Duphiney's
Explosion Of The Tone Cabinets
Performed On The Largest Hammond Organ Combination In The U.S.
Powered by 30 Speakers
10 Organs On One Console
Producer: Frank L. EngelCover Art: Jack Sontag
Decora - Amphora DALP 2002-5
1962

From the back cover:

Cliff Duphiney

Age 26

Born at Mt. Vernon, New York

Part Irish and French

Started piano lessons at age 7

At a very young teenager played with his own 12-piece orchestra

At age 17 enlisted in U.S. Naval Mine Force, Pacific area. Following his separation he returned to study music.

Attended N.Y. College of Music, Harnett School of Jazz, took private instruction, studied harmony, theory, composition, arranging, orchestration.

Has worked in TV, Radio, Shows and Night Clubs

Happily married to a lovely and charming personality, his wife Joyce

Also from the back cover: Vincent Marino, drummer, used only the standard set of percussion instruments. No sound gimmicks were used, other than added reverberation and echo chamber as commonly employed in recording studios to get a live sound. All the special effect sounds were actually produced on the console by Cliff Duphiney. A good microphone pickup was or paramount importance to get these sounds on the track – in the grooves. Bruce Sweden, top-flight and highly desired recording engineer was at the controls in the engineer's booth at Universal recording studio in Chicago. Bernie Clapper, Chief Consulting Engineer.

People Will Say We're In Love
Winter Wonderland
On The Street Where You Live
Pennies From Heaven
Melody Of Love
Calcutta
Rhapsody In Blue
Mambo Jambo
Night Train
Cocktails For Two
What Is This Thing Called Love
I'm Gonna Sit Right Down And Write Myself A Letter
That Old Black Magic

1959 Reverend's Rebels

Tum-Ba

1959 Reverend's Rebels
Director: Jon Davies
Assistant Director: Phyllis Thornton
Record Publications Company - Camden, N.J.
Custom Processed and Pressed by RCA Victor

She's Got A
Mood Medley: I Don't Know Why, That Old Feeling, Once In A While
It Takes A Long, Tall, Dark Skinned Gal
Tum-ba
A Good Man Is Hard To Find
Carolina Moon
Basin Street Blues
San
My Cutie's Due
Watermelon Weather
S'posin'
The World Is Waiting For The Sunrise
Old Fashioned Medley: Sidewalks Of New York, When You Wore A Tulip, After The Ball Is Over
Angry
Dancing On The Ceiling
Gin & Coconut Water
I Know Where I'm Going
O Goucher Fair And True

Dancer's Delight - David Carroll

Stomp And Whistle

Dancer's Delight

David Carroll And His Orchestra
Mercury Records MG 20109
1956

From Billboard - September 1, 1956: Mercury has packaged some of Carroll's more danceable singles for a distinctive varied program. Jocks will continue to use these profusely. Includes: "Fancy Pants," "In A Little Spanish Town," Gadabout," and "Music Makers."

From the back cover: His (David Carroll) music is distinctive, the style of each number is new, and each tune is built to popularity on the merits of its own personality. It seems that many a conductor is limited in his scope. For example, if that conductor has an orchestra of 15 men, the arrangement will carry scoring for 15 instruments, possibly 18. With David Carroll, these same 15 men would be called upon to play as high as 30 or more instruments. His feeling is that if the tune requires the inclusion of such instruments as oboes, flutes, maracas, French horns, violas, etc., then the orchestra should have men that can play them as well as their basic instruments. Consequently, many times you will hear the David Carroll orchestra and swear that there must be at least 50 men in the group to render such a full and interpretive rendition.

Fancy Pants
Mine
Bumpty-Bump
Buck Dance
Stomp And Whistle
In A Little Spanish Town
Gadabout
Jug Time
By Heck
Grandpa's Rocker
Baffi
Music Makers

Rotorua Maori Concert Party - Under The Direction Of Guide Kiri

Rotorua Maori Concert Party
Under The Direction Of Guide Kiri
Stebbing Recording, Auckland
SLP 1001

Available from online vendors so I will not be posting a sample. Presented her to share the cover art.

From the back cover: The Rotorua Maori Concert Party are direct descendants of the Arawa Tribe who migrated from Hawaiiki to New Zealand in the fourteenth century. Landing their canoes at Maketu in the Bay of Plenty, the Arawas travelled inland and settled in the lake district of Rotorua. The music of the Maori has changed but little since early times. It is full of rich harmonies and exciting rhythms. The accompaniment of the primitive nose-flute has been replaced today by the guitar – a trend which can be seen also in the music of the Hawaiians and other Polynesian races.

In this recording of Maori Action songs, Love songs and Hakas (given by the Rotorua Maori Concert Party, who perform weekly in Rotorua and make frequent tours throughout New Zealand), every endeavor has been made to capture the atmosphere of an actual performance. The microphone was placed fifteen feet from the stage and the resulting recording has such breathtaking realism you can hear the swishing of the Pui-puis (grass skirts) in the action songs

Haere Mai
Moe Mai E Hine
Taku Patu
Po Kare Kare Ana
Haka
Hoki Hoki
Puti Puti Pai
Tuhourangi
E Pari Rae
He Wa Watt (Solo Kahu Morriana)
Taku Ri Pene Pai
Haka
He Aha Kei Taku Uma
Po Ata Rau
God Save The Queen

The Party's Over - Moods Orchestral Series

Lover Come Back To me

The Party's Over
Moods Orchestra Series
Philips SBL 7893

Cover photo of a 1906 Renault, taken at the Montagu Motor Museum, Beaulieu.

From the back cover: The idea of the "Moods Orchestral" series started in the summer of 1967, when Philips issued the first of a new series of Car Cassettes – pre-recorded taped music designed primarily for car drivers requiring well-known standards, and played in a relaxing style. The whole thing was so successful that the same music is now being issued on LP records.

The Party's Over - Ivor Raymond & His Orchestra
Bye Bye Baby - Johnny Arthey & His Orchestra
Something To Remember You By - Johnny Arthey & His Orchestra
Lover Come Back To Me - Ken Thorne & His Orchestra
Alone - Ken Thorne & His Orchestra
I'll Be Seeing You - Reg Tilsley & His Orchestra
They Can't Take That Away From Me - Re Tilsley & His Orchestra
Just One Of Those Things - Reg Tilsley & His Orchestra
I Remember You - Johnny Gregory & His Orchestra
Remember Me - Reg Tilsley & His Orchestra
I've Grown Accustomed To Her Face - Les Reed & His Orchestra
I'll See You Again - Peter Knight & His Orchestra

The Music From M Squad - Stanley Wilson

The Chase (LSP-2062)

The Music From M Squad
From The NBC-TV Series Starring Lee Marvin
Album based on excerpts from the Soundtrack of the NBC-TV series of "M Squad."
Orchestra Conducted by Stanley Wilson
Arranged by Benny Carter, John T. Williams and Pete Carpenter
Produced by Russell Garcia
Recording Engineer: Al Schmitt
Recorded at RCA Victor, Music Center of the World, Hollywood, March 1959
Sounds Of TV
RCA Victor LPM-2062 & LSP-2062
1959

From Billboard - June 15, 1959: With the success of "Peter Gunn" and 77 Sunset Strip," TV programs that utilize jazz themes in their background scores, this similar set has a strong chance to step out for big sales. The well-known main theme, cleared by Count Basie is done with a sound that reminds of the Basie orchestra. Cover features Lee Marvin, star of "M Squad," in a shot from one of the telecasts. Stereo enhances appreciation of the set. A likely big one.

M Squad Theme (Count Basie)
The Chase (Johnny Williams)
The Search (Benny Carter)
Phantom Raiders (Benny Carter)
Lonely Beat (Stanley Wilson)
The Juke Box (Benny Carter)
The Mugger (Benny Carter)
The Discovery (Johnny Williams)
The Late Spot (Stanley Wilson)
The Cha-Cha Club (Stanley Wilson)
A Lady Sings The Blues (Sonny Burke, Stanley Wilson)
The End (Johnny Williams)

Dancing On A Cloud - The Three Suns

Dancing On A Cloud
The Three Suns
Recorded in RCA Victor Studio A, New York City
Recording Engineer: Ernest Oelrich
RCA Victor LPM-2307
1961

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

Medley:'S Wonderful, Ain't She Sweet, Anything Goes, In The Shade Of The Old Apple Tree

Medley:Dancing In The Dark, Embraceable You, Shuffle Off To Buffalo, Softly As In A Morning Sunrise, Begin The Beguine

Medley:I'm Just Wild About Harry, Three Little Words, Ma Blushing Rosie, Put On Your Old Grey Bonnet

Medley: I'll See You Again, 'Amour, Toujours, L'Amour (Love Everlasting), A Kiss In The Dark, wei Herzen Im ¾ Takt (Two Hearts In ¾ Time)

Medley: It's Only A Paper Moon, Sweet Georgia Brown, Dancing Tambourine, Limehouse Blues

Medley: Avalon, Baby Face, Louisiana Hayride, I'm Looking Over A Four Leaf Clover

Medley: September In The Rain, Tip-Toe Thru The Tulips With Me, Carolina In The Morning, Moonlight Bay, Night And Day

Medley: April Showers, Bei Mir Bist Du Schoen (Means That You're Grand), In An Eighteenth Century Drawing Room, The Birth Of The Blues

Medley: And The Band Played On, In My Merry Oldsmobile, I'm Forever Blowing Bubbles, Daisy Bell (Bicycle Built For Two)

Medley: The Continental, The Japanese Sandman, Swanee 

Stereo 35/MM - Enoch Light

Love For Sale

Stereo 35/MM
Enoch Light And His Orchestra
Recorded at Carnegie Hall
Originated and Produced by Enoch Light
Associate Producer: Julie Klages
Recording Chief: Robert Fine
Mastering: George Piros
Art Director: Charles E. Murphy
Command Records RS 826 S.D.
1961 Grand Awards Record Co., Inc.

"Persuasive Percussion created a new concept in musical sound.... now STEREO 35MM brings to you music with an intense 'true to life' impact which is unbelievably realistic." – Enoch Light

From Billboard - August 8, 1961: Enoch Light has done it again with a brilliant "sound" record that should maintain Command's leadership in the field. The record, recorded originally on 35-mm. film, is one of the most remarkably true sounding disks on the market, with a liveness that makes the ork sound as though it is right in the room. The arrangements by the Light crew are perfect for stereo. Tunes include "Heat Wave," "The Man I Love," "Love For Sale," and "All The Way." Should be a smash seller.

Heat Wave
The Man I Love
I've Got A Crush On You
All The Way
My Romance
You Do Something To Me
Zing Went The Strings Of My Heart
Someone To Watch Over Me
Love For Sale
I'll See You Again
I See Your Face Before Me
With A Song In My Heart

Maiden Voyage - Ramsey Lewis

Maiden Voyage
Ramsey Lewis
Arrangements: Charles Stepney & Cleveland J. Eaton II
Produced by Charles Stepney
Album Supervision: Richard Evans
Photo: Ruyell Ho
Album Design: Jerry Griffith
Recorded at Universal Studios, Chicago, April, 1968
Cadet Records LPS 811
1968

Ramsey Lewis - piano
Cleveland J. Eaton II - bass
Maurice White - drums
Augmented by strings and voices

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art.

From Billboard - July 6, 1968: Ramsey Lewis' nifty translations of the pop idol into jazz have tabbed him an innovator who has drawn together the pop-jazz gap. His latest LP, another unique treat to a unique jazz personality, features the title tune "Maiden Voyage" and versions of "Mighty Quinn," "Do You Know The Way To San Jose" and "Afro-Boogloo Twist" – all revived by the Ramsey Lewis beat and piano improvisation, and the best-selling Ramsey Lewis Trio.

Maiden Voyage
Mighty Quinn
Sweet Rain
Lady Madonna
Do You Know The Way To San Jose
Ode
Les Fleur
Since You've Been Gone
In The Heat Of The Night
Afro-Boogaloo Twist
Only When I'm Dreaming
Eternal Journey

The Shearing Touch - George Shearing

Like Young

The Shearing Touch
Magnificent Performances Of Great Piano Favorites
String Choir Conducted By Billy May
Produced by Dave Cavanaugh and Tom Morgan
Piano by Baldwin
1960

Autumn Nocturne
Nola
Misty
Canadian Sunset
Autumn Leaves
Like Young
Sunrise Serenade
Honeysuckle Rose
Snowfall
Tonight We Love
Bewitched
One O'Clock Jump

The Best Of Earl Grant

Beyond The Reef

The Best Of Earl Grant
Arranged and Adapted by Earl Grant and Charles Dant
Produced by Charles Bud Dant
Decca Records DXSB 7204
1970

2-record set, double fold jacket.

From the inside cover: Just who is this Earl Grant who comes on slick and polished that he looks like someone made him up, and who sounds like a series of guys who know exactly what to do and are doing it?

He's an Oklahoman, if that's any help to you. Earl was born in Oklahoma City in 1931. His father was a Texas, Southern professor. When Earl was still a child, the family moved to Kansas City where there has always been a tradition of fine music. And that's also where Earl started studying music, a loving chore that has occupied most of his life.

Among the instruments he knows are, of course, organ and piano, but he also plays trumpet and drums. From this wide variety of tonality in his musical background, Earl can draw the unique sounds and approaches that make his music so distinctive. If he's at the organ keyboard, and the trumpeter in him feels the need to dig into a chorus, why shouldn't Earl laugh into just such a trumpet-like attack on the organ?

He attended the University of Southern California and majored in music. After graduation, he did post-grad work in music at the New Rochelle Conservatory, Chicago's De Paul Conservatory, and the Kansas City Conservatory of Music. His course was set. Earl had decided to teach music as a career.

But, after a hitch in the Army, he came back and picked up his post-graduate studies at the University of Southern California. To help defray the expenses of campus life, he began singing in small clubs in the Los Angeles area. Before long, he was so popular that he had to set aside his budding career as a music teacher and become the performer.

His first big break came when he played at the Pigalle Club in Los Angeles, and his first national breakthrough came when he landed his Decca recording contract and really began to groove.

Stand By Me
Sunny
Sweet Sixteen Bars
(At) The End (Of A Rainbow) (vocal with orchestra)
Goin' Out Of My Head
Saints
Ol' Man River
Ebb Tide
It Was A Very Good Year
House Of Bamboo (vocal with orchestra)
A Closer Walk

Sermonette
The Look Of Love
It I Only Had Time (Je N'Anrai Pas Le Temps) (vocal with chorus and Instrumental Accompaniment)
Volare (Nel Blu Dipinto Di Blu) (vocal with orchestra)
I Can't Stop Loving You
More
Drown In My Tears (piano and organ duet)
Beyond The Reef
Tender Is The Night (vocal with orchestra)
After Hours
Swingin' Gently

With All My Love - Roy Hamilton

With All My Love
Roy Hamilton
Music Arranged and Conducted by Neal Hefti
Epic LN 3519
1958

Available from online vendors so I will not be posting a sample. Presented here to share the back cover biographical information.

From the back cover: The interpretation he brings to a song undoubtedly is due to the fact that he has been singing since he was a child, and to the further fact that his songs were church music. In his native Leesburg, Georgia, he became a member of the choir at the age of six. This continued after his family moved to Jersey City, New Jersey when he was fourteen, and in this locale he was often heard as soloist in ceremonies at the Central Baptist Church. Music had not been his only love, however. Commercial art held much attraction for him and so great was his success in this that some samples of his work have been put on display in local galleries. Amateur boxing rounded out his extracurricular training and, again, he met success, avenging his only defeat in six matches when he met the same opponent in a rematch.

By now it is apparent that whatever Roy Hamilton puts his hand to he does sincerely and with the kind of energy that make success almost a foregone conclusion. Seen in this light, his amazing rise to fame a popular singer is only the inevitable result of his bringing to it the qualities developed in him during thesis early years.

He first left the field of scared music only to extend his repertoire, choosing good songs from light operate and musical comedy. When he began to be heard he was offered an occasional engagement as a popular singer in night clubs. It was on such and occasion that he was heard by disk jockey Bill Cook, who in turn got him a recording audition. He was signed at once and the rest is history.
– – –

For some years now Neal Hefti has been in the forefront of arrangers, composers and conductors, and has supplied some of the most delightful and interesting orchestrations and original around. Born in Hastings, Nebraska, his first musical instrument was the trumpet. Charlie Barnet gave him his first big-time break and he also played with Charlie Spivak's orchestra. In 1944, he joined the Herman Herd, and began the string of classic arrangements that made him famous. He has contributed a number of superior orchestrations to the Harry James group, among others, and was responsible for such great Woody Herman arrangements as Caldoina, Apple Honey and Northwest Passage. Backing Roy Hamilton, Neal Hefti uses the colors of today's livelier ideas combined with the firm, swinging tempos of the ballad.

From Billboard - March 9, 1959: This (Epic BN 518) is the stereo version of the Roy Hamilton album that was released about a year ago. Stereo separation is good and fans of the singer who do not have the monaural set will be interested in this stereo waxing. Tunes are all standards, including "Always," "Time After Time" and "Speak Low."
Always
Time After Time
Please
Speak Low
I Miss You So
My One And Only Love
Cheek To Cheek
Here I'll Stay
Oh What A Night For Love
All My Love
Pledging My Love

Aloha Hawaii - The Polynesians

Hawaiian War Chant

Aloha Hawaii
The Polynesians
Custom CS 1120

Sweet Leilani
Orchid Lei
Hawaiian China Doll
Lehua
Aloha Oe
Pulupe
Hawaiian War Chant
Island Moon
Lovely Tahiti
Farewell And Aloha

Dancing In The Street - Ramsey Lewis

Dancing In The Street
Ramsey Lewis
Recorded: July, 1967 at Basin Street West, San Francisco, California
Album Production & Supervision: Esmond Edwards
Engineer: Wally Heider
Cover Photo: Gene Anthony
Album Design: Jerry Griffith
Cadet Records LPS 794

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

From the inside cover:

Cleveland J. Eaton was born in Fairfield, Alabama, in 1939. In the midst of a throughly musical family, he began to studying music when he was 5 years of age. He was literally inundated with four piano teachers in the Eaton household – his mother, two sisters, and an aunt. Four pianos and a Hammond organ were available so it was inescapable that he became a keyboard student. His two Juilliard-trained sisters have since become concert pianists. Cleve shifted to the alto saxophone at 10; although he was in elementary school, he played alto for two years as a member of the Fairfield Industrial High School.

Following a short try with the trumpet , Cleve proceeded to involve himself in a literally long parade of instruments – the tuba and the string bass being the last two he learned in the 11th grade. After only two weeks with the bass, he started a gig with the Leon Lucky Davis in Birmingham, Alabama. In search for a music scholarship, he was ultimately awarded one for tuba at Tennessee State. He majored four years on tuba and minored in string bass; he also earned a Teaching Credential along with his diploma.

A couple of days after his graduation, he arrived in Chicago and in no time he was playing in a Monday night session at the Sutherland. The late Nat "King" Cole's brother, Ike, heard Cleve and invited him to join his group; subsequently he traveled with pianist Ike Cole for 1 1/2 years. In New York City, the quintet of trumpeter Donald Byrd and baritonist Pepper Adams became his next jazz anchorage. Three months later Chicago drew him back, and in late 1961 Cleve joined pianist Larry Novak' trio which played part of nearly every week for 5 years at the London House. Energetic Mr. Eaton played the tuba, the fender bass and string bass on studio assignments – recording, radio and TV commercials, etc. Concurrently he taught fifth and sixth grades in the Chicago Public Schools, winding up with seventh and eight grade instrumental music in the last two years of employment. Cleve played bass for nearly every major act that came through Chicago – Joe Williams, Nancy Wilson, Gloria Lynne, Jack Jones, et al; he was also present on a great many jazz recording sessions.

In June of 1966, Ramsey Lewis recruited Cleve for his trio. The two had met originally while they were playing opposite each other in the London House.

It is not surprising that Cleveland Eaton declares that his influences on the bass include Ray Brown in particular; the raison d'être is apparent as you listen to Cleve's tone. His tone is full and projective and his notes are somewhat long, giving his movement a nice feeling of swing. Other jazz bassists that Cleve considers contributory to his personal jazz approach include Paul Chambers, Sam Jones, Richard Davis and the late Scott La Faro

– – –

The lithesome drummer in Ramsey Lewis' Trio was born in Memphis, Tennessee, in 1942. He is the son of Verdine White, M.D. in Chicago. From the age of 6 to 12, he sang in a gospel quartet and traveled extensively in the South East. At 13, he started playing the drums, gaining early experience with a marching band and a combo that played in a sanctified church.

Continuing his studies of the drums following his emigration from Tennessee in 1961, Maurice settled in Chicago and engaged the tutelage of a series of four instructors. His academic training included two years at Chicago Music Conservatory. Prior to his union with Ramsey Lewis in June of 1966, Maurice spent three years as staff drummer win the Chicago studios playing a wide range of music and assuming a variety of roles as a percussionist. And, like bassist Cleveland Eaton, he participated in numerous recording sessions in the Windy City; these assignments brought him into close contact with many musicians including Ramsey.

Drummer Art Blakey was the first jazz drummer to pry open Maurice's ears and provided the motivating force to spur him on to play jazz. This period of jazz exposure lies in the latter part of 1960 and early 1961. Prompted to investigate more deeply, Maurice discovered the masterful of Roy Haynes who is cited as the drummer whose influence has given Maurice the most direct and enduring effect. In sincere admiration, Maurice commented, "People are just finding out that what they are doing, Roy was doing decades ago. Of course, I dig other drummers, too – Philly Jo Jones, Max Roach, Tony Williams, Alan Dawson, and Elvin Jones. Incidentally, Elvin is a stylistic descendent of Roy Haynes' mold too.

Maurice White is a maturing young drummer who lays down a solid, authoritative beat and although he can obviously express himself very explosively at times, he does everything possible to fit into the concept of the Ramsey Lewis Trio. And Maurice is very enraptured with playing drums. He seems to dig every every minute of it! Because he has time on his side and an abundance of ambition and youthful vigor, Maurice White's future promises to be a very hopeful one. Beyond the Ramsey Lewis context. Maurice spends a great deal of effort studying, listening, waiting, and playing in sessions wherever he finds the opportunity. – Herb Wong

From Billboard - October 14, 1967: Ramsey Lewis is an expert at revitalizing pop tunes with a personalized pop treatment that knocks on the doors of both the pop and the jazz fields. This is the debut LP of his new group and it's right in the hit groove with "Dancing In The Street," "What Now My Love," "You Don't Know Me."

Dancing In The Street
Black Orpheus Medley
What Now My Love
You Don't Know Me
Struttin' Lightly
Mood For Mendes
Django
Quiet Nights

How To Belly Dance - Jodette

Hip Movement

How To Belly Dance
The Authentic Way
For Fun! Health! Profit!
Taught by Jodette Silhi (Kamelia)
It's Fun - Best Way To Reduce Weight - Completel Exercise For Your Body And Mind!
Full Instructions Enclosed - Including How To Make Your Own Costume
Art By George Silhi
1972

History OF Belly Dancing And Five Common Cymbal Patterns
Lesson #1 – The Entrance
Lesson #2 – Hip Movement
Lesson #3 – Shaking The Hips
Lesson #4 – Shaking The Stomach
Lesson #5 – Belly Movement
Lesson #6 – Bust Movement
Lesson #7 – Neck Movement
Lesson #8 – Floor Act
Lesson #9 – Traditional Belly Dance Yell
Musical Instruments Used In Belly Dancing

Music For Belly-Dancing - Ahmed Shiba

Jamal

Music For Belly-Dancing
Ahmed Shiba And His Ensemble
Music Of Many Lands
Request Records, Inc. - Hollywood, Florida
SRLP 10122

From the back cover: Ahmed Shiba and his group hail from Iraq. His father was a lute player who taught him to play this instrument at the age of five. Now, Ahmed Shiba and his musicians have traveled the Mideast and through the exclusive nightclubs of Europe, specializing in the accompaniment of Belly Dancers. There is hardly a star in this field, who, at one time or another, has not sought the art of Ahmed Shiba.

Ja Mustapha (Hey, Mustapha - a name)
Susu (Girl's name
Jurulem (Passion)
Zuruni (Visit me)
Mansura (Victorious)
Bent L Shalabijah
Ghuzajel (The Beauty)
Ammer Jamuammer (Wonderful, Too Wonderful)
Samer (Alone)
Bahija (A Girl's Name)
Layla ( A Girl's Name)
Jamal (Young Love)

"Bob" And Other Songs To Make The Juke Box Play - The Willis Brothers

Ring Of Fire

"Bob" And Other Songs To Make The Juke Box Play
The Willis Brothers
Produced by Don Pierce
Cover by Don Quest Studio
Starday Records SLP 403 (ST-91149)
Manufactured by Capitol Records
1967

Bob
Too Hot To Handle
The End Of The Road
Goodbye New Orleans
Rosebuds And You
Drivn's In My Blood
Ring Of Fire
Weekend Willie
You Are The One
I Found My Girl In A Glass Of Water
Miller's Cave

Walking Along Kicking The Leaves - Fred Lowery

Sunrise Serenade

Walking Along Kicking The Leaves...
Fred Lowery
Whistling with Orchestra Directed by Owen Bradly
Decca Records DL 8476

From the back cover: Born in Palestine, Texax, Fred lost the greater part of his vision when he was two. The fact that he had only one percent of normal vision since childhood did not detract from his determination to succeed in his unusual field. In 1929, when he was attending a school for the blind, he met a bird imitator. "He encourage me," Fred recalls, "and I began to discover there was more to whistling than bird calls." In the ensuing years, Fred Lowery has undeniably proven this fact to millions of delighted listeners.

After a series of minor successes, including a radio show on WFAA in Dallas, and a 4 1/2 year engagement with the Vincent Lopez orchestra in New York, he was heard by Horace Heidt. Heidt gave Fred his chance for national recognition as a featured part of his show. In 1945, Fred went out on his own, and the extraordinary artistry with which he performs has earned him the acclaim of countless fans.

From Billboard - March 20, 1957: Veteran blind whistler Lowery in nostalgic standards ("Sleepy Lagoon," " Far Away Places," etc.) in usual tasteful, trilling fashion, with an able assist from Owen Bradley's ork. A sentimental change of pace for jocks with adult audiences. Package has solid sales future in limited market for whistling wax.

Walking Along
Indian Love Call
Tennessee Waltz
Far Away Places
The Moon Of Manakoora
Sunrise Serenade
Happy Hobo
Pagan Love Song
The Lonesome Road
Sleepy Lagoon
Sentimental Journey

The Towering Feeling! - Vic Damone

That Towering Feeling!
Vic Damone
Orchestra under the direction of Camarata
Special Re-issue
Columbia Productions - Special Products
Columbia Records CL 900
1956

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

From the back cover: The phrase (Towering Feeling) comes from Alan Jay Lerner's Lyric for On The Street Where You Live, the charming song from "My Fair Lady" which Vic sang into first place among the ballads of 1956. This record, along with his television program and his motion picture appearances, left no doubt that Vic had resumed his position as one of America's top singing stars. He temporarily abdicated that position for two years in the Army, serving in both the United States and Europe. This interlude came when Vic had just reached the top, rounding off a climb that began in Brooklyn in 1928.

Vic's father arrived here from Italy shortly after the World War with a ringing voice and a plentiful supply of melodious folk songs that kept the family entertained for many an evening, with Vic's mother at the piano. During his schooling, young vic took part in amateur dramatic presentations and the work of the school glee club, along with his studies, and made his first radio appearance at the age of fifteen, singing on the "Rainbow House" show over Station WOR. Soon thereafter he got a part-time job as an usher at the Paramount Theatre, where he was able to watch a seemingly endless string of the finest singers of the day and absorb invaluable lessons. Later, while he was working as an elevator operator, he seized an opportunity to give an impromptu audition for Perry Como, a captive audience, who advised Vic to make singing his career.

During the war years, young Vic made appearances at church socials and canteens, polishing his style, and finally auditioned for the Arthur Godfrey Talent Scouts program. Milton Berle heard him there, and promised that if Vic won the contest, he would help him get his career under way. Vic Came out on top, and was soon set for an audition at La Lartinique, which was famous as a club where many young singers had had their first taste of fame. Vic remained there for eleven weeks and was showered with offers for other engagements, among them his own radio show and the chance to return to the Paramount as a star attraction. In 1947, he signed for his first commercial radio show, which ran for two years, and thereafter appeared at all the major hotels and nightclubs in the country. His movie debut came in 1950, in "Rich, Young and Pretty," and then the Army intervened. Since his return to civilian life, Vic has picked up where he left off in no uncertain terms, and even better, has married the enchanting Pier Angeli. And who, quoting from another lyric, could ask for anything more?

To illustrate the towering feeling, Vic has chosen twelve notable expressions of romance, mostly from the thirties and forties, including contributions by such expert hands as Richard Rodgers, Jerome Kern, Irving Berlin and Vincent Youmans, among others. Some of them are presented in standard ballad tempo, others have a more light-hearted approach deriving from the occasional giddiness that romance engenders. Contrast is provided in the accomplishments, too; four tunes are heard with a small combo plus five strings, with Buck Clayton warming passing choruses with his trumpet. Others are heard with full orchestra and vocal chorus, still other with a rhythm section and Urbie Green's trombone. All of them, of course, are blessed with the matchless velvety quality of splendid entertainment, and in all of them Vic conjures up the winning picture of a young man in love, spreading the contagion of the towering feeling around for everyone to share.

From Billboard - September 15, 1956: The lyric of Damone's hit single, "On The Street Where You Live," inspired the title of this LP, which features the warbler in fine vocal form on 12 nostalgic love songs, mostly from the 1930s and 1940s. Damone sings as usual – with impeccable taste and richness – while Camarata provides three different types of backing. Damone is hotter (as a single artist) than he has been in a long time, which should help sales on this package.

You Stepped Out Of A Dream
Wait Till You See Her
Out Of Nowhere
The Song Is You
Spring Is Here
Let's Fall In Love
Smoke Gets In Your Eyes
Time On My Hands
I'm Glad There Is You
The Touch Of Your Lips
All The Things You Are
Cheek To Cheek

Latin American Favorites - Jimmy Dorsey

Brazil

Latin American Favorites
Jimmy Dorsey
With Bob Eberly and Helen O'Connell
Decca Records DL 8153
1955

From the back cover: Jimmy Dorsey has had only twelve birthdays! For Jimmy was born on the 29th of February in the leap year of 1904. The event took place in Shenadoah, Pennsylvania, and it was there that he grew up, learning to play the cornet and later the saxophone and clarinet while going to school. He also added to the family income by working as a driller's helper in the nearby collieries. At seventeen he was a bandleader. At eighteen he was offered a job as a saxophonist and clarinetist with the Scranton Sirens, one of the forerunners of the so-called "hot" bands. That interrupted his career as an orchestra leader for a long time, from 1922 to 1934, but during those years as an instrumentalist he came to be identified with practically every famous dance band in the country.

From 1932 to 1935, Jimmy and his trombone-playing brother, Tommy, enjoyed spectacular acclaim with their Dorsey Brothers Orchestra. In 1935 the two brothers went their separate ways, both as leaders, and, remarkably enough, each to greater heights in the dance band field that they had attained together.

Jimmy Dorsey's was one of the most rapid rise in the history of dance bands. His orchestra played its first engagement at the swank Sands Point Club on Long Island, where NBC gave them the first wire out of the spot. Then followed bookings at Ben Marden's Riviera on the Jersey Palisades, the Palais Royale on Broadway, and the Glen Island Casion. The band went on a westward trek of theatre and one-night stands, eventually reaching the coast and opening with Bing Crosby on the Kraft Music Hall air show from Hollywood. In 1939 the band made its first appearance on the stage of the Strand Theatre, New York, a showplace where it holds the all-time house records.

After many years of outstanding success, Jimmy rejoined his brother Tommy and, in 1954 solidified a connection which brought both Dorsey's renewed glory.

From Billboard - November 12, 1955: Decca has packaged 12 of Jimmy Dorsey's most famous old sides from the early '40s, including such all-time clicks as "Amapola," "Tangerine," "Maria Elena," "Yours" and nostalgic appeal and should fare well sales-wise. A big extra sales plus is the cover – a striking color photo of an Ava Gardner-type brunette in a peek-a-boo toreador jacket.

Green Eyes
The Breeze And I
Six Lessons From Madame La Zonga
Amapola
Tangarine (cover spelling) Tangerine (back cover spelling)
Maria Elena
Yours
Always In My Heart
Latins Know How
Brazil
Tropical Magic
At The Cross Roads

Sounds Of Animals

Peccary

Sounds Of Animals
Audible Communication Of Zoo And Farm Animals
Science Series
Folkways Records FX 6124
1955

From the notes insert: Peccaries are the American members of the swine group. hey resemble small dark pigs with manes which can stand up and bristle when the animals are aroused. At the zoo these creatures are very noisy during feeding time. A keeper opens an iron door. The Peccaries start munching and chewing their meal of celery and then several engage in a short argument... Peccaries have very sharp tusks in both jaws which they click together rapidly when angered...

At The Zoo - Recorded and Narrated by Arthur Greenball at the Detroit Zoological Park

Introduction and Tiger
Rhinoceros
Rhesus Monkeys
Rhea
Chimpanzee
Peccary
Hippopotamus
Puma
Lion
Indian Elephant

At The Farm - Recorded and Narrated by Nicholas E. Collias

Domestic Fowl - Sounds Signals of the Chick

Goats and Sheep

Strictly Belly Dancing - Eddie Kochak

4/4 Tempos & Chiftitellis

Strictly Belly Dancing
The 3rd Volume
Eddie "The Sheik" Kochak
With Hakki Obadia
Cover Dancer: Habeeba, Dance Of The Art, Inc. - Columbus, Ohio
Cover & Liner Photographer: Dennis Lasker
Writer & Advisor: James J. Glayat
West End Music Industries
Ameraba AM-2500
1977

Personnel:
Eddie Kochak - Rhythm - Tempos
Hakki Obadia - Violin - Conductor - Arrangers
Freddie Elias - Violin
Mazin (Saleem) Hamdan - Oud
Chuck (Khaleel) Hallal - Dirbakee
George Marge - Woodwinds - Oboe - Flute
Sal Auglieri - Organ (Farfissa)
Don De Marco - Electric Guitar

From the back cover: We would like to thank Samiha Koura, owner of Ibis, 151 East 50th St. N.Y.C. for her courtesy in allowing us to photograph at her beautiful club which features an international floor show and authentic oriental dancers.

Medley Of 4/4
Rhumba For Veil Work
Medium/Fast Balady
Medley Of Medium Tempos
Floor Work Slow Chifti
Faster Chifti
No Tempo Floor Work
Exciting (Mijwiz) Balady Finale
Medium Drums & Medley
4/4 Tempos & Chiftitellis (Fast To Slow)
More Exciting Medley - Lots Of (Hel-Ah-Wah)
Kashlimar Ameraba - Drums And Zils
Balady & 4/4 Tempos - Finale

Country Lovin' Folk - The Mystic Moods Orchestra

Country Lovin' Folk
The Mystic Mood Orchestra
Produced and Directed by Brad Miller
Arranged and Conducted by Richard Clements
A&R Directors Bob Sarenpa and Bob Todd
Recordists: Michael Shields, Barry Ainsworth and Keith Grant
Mixer: Bill Schnee
Mobile Fidelity Productions, Inc.
Phillips PHS 600-351
1971

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

From Billboard - May 5, 1971: The orchestra continues its successful formula of using sound effects to implement orchestration this time out performing contemporary folk material. Crickets, horse's hooves, trains, and other sounds are integral parts of the arrangements for "Everybody's Talking'," "Simple Song Of Freedom," and "Don't It Make You Want To Go Home."

Elusive Butterlfy
Everybody's Talkin'
I Guess The Lord Must Be In New York City
Catch The Wind
Simple Song Of Freedom
Where Have All The Flowers Gone
Turn, Turn, Turn
Cycles
She Belongs To Me
Don't It Make You Want To Go Home

Showtime - Richard Hayman & Hugo Montenegro

Spellbound

Showtime
A Musical Spectacular
The Manhattan Pops Orchestra
Conducted by Richard Hayman & Hugo Montenegro
A Capitol Record Club exclusive album featuring 20 great songs from Broadway and Hollywood
Produced by Bob Shad
A&R Coordinator: Pete Kline
Notes by T. H. Everett
Designed by Liebert Studios, Inc.
Mainstream Records / Manufactured by Capitol Records, Inc.
SQBO-91356

Book fold jacket.

Record #1 Conducted by Richard Hayman

Record #2 Conducted by Hugo Montenegro

People from "Funny Girl"
I'll Be Seeing You from "Right This Way"
The Sweetest Sounds from "No Strings"
Spellbound from "Spellbound"
The Cardinal - Theme from "The Cardinal"
The Third Man Theme from "The Third Man"
Try To Remember from "The Fantastiks"
The Rain In Spain from "My Fair Lady"
Do I Hear A Waltz?
Climb Ev'ry Mountain

Exodus from "Exodus"
It Might As Well Be Spring from "Stare Fair"
The Surrey With The Fringe On Top from "Oklahoma!"
How To Handle A Woman from "Camelot"
I Concentrate On You from "Broadway Melody"
Easy To Love from "Born To Dance"
The Way You Look Tonight from "Swing Time"
If Ever I Would Leave You from "Camelot"
I've Got You Under My Skin from "Born To Dance"
Love Is Here To Stay from "The Goldwyn Follies