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