Juan Felix Maglio
b: Nov. 18, 1880, Buenos Aires, Argentina d: July 14, 1934, Buenos, Aires, Argentina
aka: "Pacho"
Here's a photo of the Argentinian Tango composer Juan "Pacho" Maglio, the son of an Italian emigre father (Panteleon Maglio) and an Argentine mother (Carmen Dodero). Maglio first studied music with Zambrano, and years later, learned the basics of Bandoneon playing with the legendary Domino Santa Cruz. He first played his father's 13 button concertina. In 1899, he made his professional debut at the cafe "El Vasco" (in the Barracas neighborhood of Buenos Aires) playing a 35 button accordion. He would go on to live through the development of the Bandoneon from 44 buttons, to 52, to 65, and finally completing with the full 75 buttons.

During 1900-'10, he performed in various Tango venues of Buenos Aires, accompanied by Luis Guerriero on violin, Luciano Rios on guitar, and Jose Guerriero on flute. About 1910, after touring the Buenos Aires province, he became the feature attraction at the famous cafe "La Paloma" (on Sante Fe Street in Buenos Aires), and then at such other cafes as Garibotto, Ambos Mundos, and La Morocha, where his reputation as a musician and a man-about-Buenos Aires would be consolidated.

In 1912, Columbia Records recorded Juan "Pacho" Maglio, and these recordings, the precursors of the Tango, were seminal in the development of the Tango as we know it today. as we know it today. Accompanying him were Jose "Pepino" Bonano on violin, Carlos "Hernani" Macchi on flute, and Luciano Rios on guitar. Maglio owned the 'rights' to the 'Pacho' name and it has been reported that those rights brought him 12,000 pesos over the first three years of the recordings, -this at a time when his records sold for just 1 and a half pesos. Over his career, he was the first musician to record solo on the Bandoneon. He began that with his 1913 recordings of the Tangos "La Sonambula" (P. Cardaropoli) and "La Morocha (by G. Metallo). His fame now was such that the record company listed him on the label as 'Bandoneon Solo by Concert-Maestro Juan "Pacho" Maglio'. Some of the men who worked in his orchestras included bandoneonists Federico Scorticatti and Minotto Di Cicco, violist Elvino Vardaro and even the 14 year old Anibal Troilo. "Pacho's' was the first orchestra to appear on stage with Muino-Alippi's company.

Pacho is recalled today as a Tango composer and lyricist, - a consular figure of the 'Old Guard' who led his groups with artistic skill. His (78RPM) records were very popular, and a knowledge of his music is essential for understanding the history of the Tango. He was just 54 years old when he died in Buenos Aires.

       Dick Manning
Currently no information available.
Among Mannings works are:
1926 "Hawaiian Wedding Song (The)", Originally composed by Charles E. King with Hawaiian lyric and title "Ke Kali Nei Au". The English lyrics added ca, 1959 by Al Hoffman and Dick Manning.

ca.1956 "Hot Diggity (Dog Ziggity Boom)". Al Hoffman and Dick Manning adapted the first theme of Alexis Chabrier's "Espana, Rhapsody for Orchestra", and added their own words.

ca.1958 "Island Of Forgotten Lovers (The)", Words and Music by Dick Manning and Kay Twomey

ca. 1957 "Kiss Me and Kiss Me and Kiss Me (Tre Voite Baciami)", English lyrics by Al Hoffman and Dick Manning. Originally an Italian song composed by Luciano Beretta with Italian lyrics by Arturo Casadei.

ca.1957 "Mi Casa, Su Casa (My House Is Your House)", Words and Music by Al Hoffman and Dick Manning

ca.1958 "Moon Talk", Words and Music by Al Hoffman and Dick Manning

ca.1954 "Papa Loves Mambo", Words and Music by Al Hoffman, Dick Manning and Bix Reichner 1954

       Henry Mancini
b. April 16, 1924, Cleveland, OH, d. June 14,1994, Beverly Hills, CA, USA.
Here's a photograph of Henry Mancini, who was born in Cleveland, and raised in the mill town of Aliquippa, Pennsylvania. Mancini's father taught him to play the flute and piccolo. Upon graduating from high school, Mancini decided (with some difficulty) to study music. He studied at the Carnegie Institute of Technology, and later attended the famed Juilliard School of Music in New York City until he was drafted for WW2 duty in the U.S. Army. After his discharge, Mancini found work as a pianist and arranger for the Tex Beneke-led Glenn Miller Band, and continued private studies with various classical composition teachers. In 1947, he married Ginny O'Connor, a vocalist with the 'Mel Tones' (Mel Torme's singing group.)

In 1947, Mancini and wife moved to Hollywood, where he found encouragement from composer/arranger David Rose, and was able to get arranging work. In 1952, he joined the music department of Universal-International Studios, where he at first did some fill-in work for an Abbott and Costello movie, and ended up becoming a musical director for that studio. The routine work was an an excellent school for Mancini who worked on over 200 films in the 'factory system'. In 1954, he enjoyed 'lead' arranger credits, and an Academy Award nomination, for "The Glenn Miller Story", and was the arranger for "The Benny Goodman Story" in 1956.

After leaving Universal-International in 1958, he scored Orson Welles' film noir "Touch of Evil". One day, on his way to the studio barbershop, he ran into an old acquaintance from Universal Studios, Blake Edwards. Edwards was about to produce the 1959 TV series 'Peter Gunn'. Working on a 'tight' budget, Edwards asked Mancini to write the music for just an 11 piece jazz ensemble. The resulting "Peter Gunn Theme" was the first ever hit TV-soundtrack album.

Mancini not only had an Emmy nomination for the theme but won two Grammys for the album. Following this, Edwards again hired him, this time hoping to repeat the trick for his new series, "Mr. Lucky." The series failed, but the show's album didn't. Mancini won two more Grammys and RCA gave gave him a contract to record under his own name. His very first release, "Blues and the Beat," also won a Grammy. Mancini also found time to write an orchestration textbook called "Sounds and Scores", which came with a set of companion discs showing examples from his TV and record arrangements. The volume was intended to show the relationship between the printed score and the various orchestral voicings heard on TV and disc.

His association with Blake Edwards continued for many years, with Henry scoring many of the Blake Edwards films. Mancini scored, and composed, for films such as "Breakfast at Tiffany's", "The Days of Wine and Roses" (1962 Oscar winner), "The Pink Panther", "Hatari! (for which he composed "Baby Elephant Walk") and "Charade". His song "Moon River", with lyrics by Johnny Mercer also won an Academy Award in 1962, the same year "Breakfast at Tiffany's" won a second Oscar for Best Score for a Motion Picture.

By early 1964, Mancini one of the best known and most successful film composers. Up to 1978, he had recorded over 80 albums for RCA, winning a total of 20 Grammys, 7 gold records, and 4 Oscars. He continued film work into the early 1980s, scoring all the 'Pink Panther' sequels and most of Blake Edwards' other films. He was now very active as a conductor, guest-leading with a number of symphonies and he also lead the Fourth of July concerts on the Capitol grounds through most of the 1980s. In 1994, Mancini died, at age 60, from cancer of the liver.

Among Mancini compositions are:
   "Holly" (film 'Breakfast at Tiffany's '-1961)
   "How Soon" (theme 'The Richard Boone Show' TV series-1963)
   "Joanna" ('Peter Gunn' TV series-1959)
   "Latin Golightly" (film 'Breakfast at Tiffany's'-1961)
   "March of the Cue Balls" (from 'Mr. Lucky' TV series-1959)
   "Mr. Lucky" (title theme-1959)
   "One-Eyed Cat" ('Mr. Lucky' TV series-1959)
   "Timpaiola (from 'Mr. Lucky' TV series-1959 Vocal Title: "I Love You and Don't You Forget It")
   "Too Little Time" (aka: "Love Theme" -with Don Raye)

Among Mancini's Soundtrack albums are:
   Arabesque, RCA Victor LSP-3623
   Brass on Ivory, RCA Victor LSP-3756
   Breakfast at Tiffany's, RCA Victor LSP-2362
   Charade, RCA Victor LSP-2755
   Experiment in Terror, RCA Victor LSP-2442
   Gunn, RCA Victor LSP-3840
   Hatari!, RCA Victor LSP-2559
   Music from Peter Gunn, RCA Victor LSP 1956
   More music from Peter Gunn, RCA Victor LSP 2040
   Music from Mr. Lucky, RCA Victor LSP 2198
   The Pink Panther, RCA Victor LSP 2795
   The Great Race, RCA Victor LSP-3402
   The Great Waldo Pepper, MCA 2085
   The Party, RCA Victor LSP-3997
   Two for the Road, RCA Victor LSP-3802
   Visions of Eight, RCA Victor ABL1-0231

Among Mancini arrangements are:
    "Tender Is The Night", music Sammy Fain (Title song for the film, 1962 )
    "Softly As I Leave You", music Alfredo DeVita (1962)

     A Warm Shade of Ivory, RCA Victor LSP-3757
Among Mancini Recordings are:

   Big Latin Band, RCA Victor LSP-4049
   Concert Sound of Henry Mancini, RCA Victor LSP-2897
   Dear Heart and Other Songs, RCA Victor LSP-2990
   Debut Conducting the Philadelphia Orchestra, RCA Victor LSP-3106
   Mancini '67, RCA Victor LSP-3694
   Mancini Country, RCA Victor LSP-3668
   Music of Hawaii, RCA Victor LSP-3713
   Mancini Plays Mancini, RCA Camden CAS-2158
   Mr. Lucky Goes Latin, RCA Victor LSP-2360
   Our Man in Hollywood, RCA Victor LSP-2604
   Pure Gold, RCA Victor LSP-3667
   Six Hours Past Sunset, RCA Victor LSP-4239
   The Best of Mancini, RCA Victor LSP-2693
   The Best of, Vol. 3, RCA Victor LSP-3347
   The Blues & the Beat, RCA Victor LSP-2147
   The Latin Sound of Henry Mancini, RCA Victor LSP-3356
   The Mancini Touch, RCA Victor LSP 2101
   The Versatile Henry Mancini, Liberty LRP 3121
   Theme music from 'Z' & other film music, RCA Victor LSP-4350
   Theme Scene, RCA Victor LSP-3052
   Uniquely Mancini, RCA Victor LSP-2692

       Paul Mauriat
Currently No Information Available.
b. March 4, 1925, Marseilles, France.
Best recalled for his 1968 No. 1 hit "Love Is Blue". In 1969, his title song for the film 'Chitty Chitty Bang Bang' (starring Dick Van Dyke) reached 76 on the charts.

       Muir Mathieson
b: Jan. 24, 1911, Stirling, Scotland, U.K. d: Aug. 2, 1975, Oxford, England, U.K.
né: Murray Mathieson
When film companies finally realized the importance of music to a film's success, they began to appoint "music directors". And so, in the USA we find such men as Dmitri Tiomkin, Alfred Newman and Wolfgang Korngold building their careers, while in England, men such as Alfred Benjamin and Muir Mathieson became early musical directors. Gaumont-British films had Louis Levy, while London Films had Kurt Schroeder. Upon Schroeder's return to Germany, Muir Mathieson was engaged.

Mathieson, who for many years made his home at Shogmore, Frieth, Bucks, may best be described as the doyen of British film music, and his importance cannot be over-stated. He was the music director for over 600 feature films and probably another 400 "shorts", including writing film music in Hollywood during his USA visit. Some critics feel his single greatest success may have been the music for the film 'Dangerous Moonlight', which included Richard Addinsell's "Warsaw Concerto" for piano and orchestra. It was played on the film soundtrack by pianist Louis Kentner with the London Symphony Orchestra conducted by Mathieson.

It was Mathieson who commissioned new scores, coordinated, arranged, and conducted a film's music. As Musical Director, he was the key link between the composer and the studio moguls. He played a key role in developing the film music careers of a great many musicians such as Arthur Bliss, Vaughn Williams, Benjamin Britten, Richard Rodney Bennett, and even Ernest Toch. He helped advance Walton's career, who, in the early 1930s, had already worked on such films as 'Facade' and the successful 'Belshazzar's Feast'. (Walton's theory was that..."film Music is written quickly; heard almost immediately and is very much `hit or miss'".) Mathieson conducted many British orchestras in film music concerts, and was also an occasional opera conductor at Sadler's Wells. Additionally, he was often the conductor on the FM series of film music 78rpm discs that were produced for the studios.

Mathieson conducted most of William Alwyn's film scores, and was instrumental in luring Arnold Bax into film music. Muir also worked with William Alwyn's widow, Doreen Carwithen (b. 1922), who was his assistant at the Denham Film Studios during the 1940s -'50s. At that time, she worked closely with Arnold Bax on the film 'Oliver Twist'. Other Mathieson friends, such as Cedric Thorpe Davie (1913-83) -a pupil of Vaughan Williams at the Royal College of Music, John Greenwood (b. 1889 London, d. 1975), Clifton Parker (b. 1905, London, d. 1989), and John Veale were all initiated into the film music industry by Muir Mathieson. In 1957, Mathieson was awarded the OBE.

       [ Theo MacKeben ], 1920s - '30s
b. May 1, 1897, Stargard (Provinz Ostpreu_en), Germany, d. Oct. 1, 1953 (Berlin?) Germany
1925: Kapellmeister Metropoltheater in Berlin
1928: The Conductor at the very first performance of the Kurt Weil/Bertold Brecht "der Dreigroschenoper" ("Three Penny Opera"). In 1930, he led the Theo Mackeben Jazz Orchestra , in a recording of this opera, with soprano Lotte Lenya. In addition, several of his Pop tunes were very big hits in the Germany of the 1920s -'30s, including "From Love", and "A Woman Becomes Beautiful Only by Love"
Composed Operas (including his "Bel Ami"), and he contributed music to over 50 films, the first one being in 1932. Some of the films for which he contributed music are:
       Lady Fanny (1934)
       Anita und der Teufel (1938)
       Tanz auf dem Vulkan (1938)
       Heimat (1938)
       Es war eine rauschende Ballnacht (1939)
       Bel Ami (1939)
       Komm auf die Schaukel, Luise (1931)
       So oder So ist das Leben (1934)
       Eine Frau wird erst sch� durch die Liebe (1938)
       Die Nacht ist nicht allein zum schlafen da (1938)
       Bei Dir war es immer so sch� (1940)

       Johnny Mandel
b: Nov. 23, 1925, New York, NY, USA.
né: John Alfred Mandel
composer, trumpeter, trombonist, conductor and arranger
At just age 13, Johnny began his study of arranging with Van Alexander. Johnny's family was from Chicago, but Johnny was born and raised in New York City (Manhattan). It was a somewhat musical family, -his uncle (his mother's brother) was George Rilling (George Roy) who worked mostly in England. At just age 5, his family discovered that Johnny had 'perfect pitch', and piano lessons soon followed. A little later, he picked up the Trumpet, and still later, the Trombone. His early studies involved Dixieland Jazz and Swing, and at just age 12, he was already writing big band arrangements. By age 16, he was spending his summer school vacations as a member of various bands in the Catskill Mountain area resorts. (A suburb of New York City.)

He worked with Violinist Joe Venuti after graduating from High School. During WW2, he was able to find work with many different bands due to all the usual musicians serving overseas in the Armed Forces. He worked with many other youngsters of his generation including such men as Zoot Sims, Max Roach, Stan Getz, Bud Powell, Al Cohn, Miles Davis and Dizzy Gillespie, - all of whom were already working on the road when they were just 16 and 17 years old.

In the late 1940s and early '50s, he found time to attend Julliard, and the Manhattan School of Music where he studied symphonic music. He also studied privately with composer Mario Castelnuovo-Tedesco. During this time, Johnny was also kept busy arranging, writing, and/or performing with such bands as Buddy Rich, Artie Shaw, Elliott Lawrence, Alvino Rey, Jimmy Dorsey, and Henry Jerome's Orchestra ( sharing the Jerome bandstand with two saxophonists, and future Washington power-brokers, - Alan Greenspan and Leonard Garment. He also did much radio and television work, including Sid Caesar's wonderful Your Show of Shows. (In later years, Johnny spoke of the Jerome band and of sidemen Greenspan and Garment: "Lenny was pretty good; Alan is a wonderful guy, but probably the best thing he did in that band was the payroll!"). In 1953, he spent the year working in the Count Basie band, later claiming it was the best band with which he ever worked. In 1954, he relocated to Los Angeles, CA, and in the following years with such stars as Frank Sinatra ( "Ring-A-Ding-Ding" album), Tony Bennett, Chet Baker, Peggy Lee (with whom he co-wrote "The Shining Sea"), Anita O'Day, Maynard Ferguson, Mel Torme, Andy Williams, and many others, as well as work with Sinatra during his "Rat Pack"-era Las Vegas shows.

About then, he made his discision to put down his trombone and devote his time to arranging and composing. The Big Bands Era had ended and studios no longer needed sessions muscians; in Johnny's own words "...some of the best players in the World were starving." During the '50s, he had mostly worked the studios, but with the '60s, he morphed into the next phase of his career, -writing for films. The work came quite easily to him. Working on Sid Caesar's Show of Shows, had shown him how to write visual cues: catching dance accents, marrying music to sight cues, and such. During the late '40s and early '50s, he had done some radio drama and learned how to write to a clock's second hand. Film work combined all of that, and came easily to him.

The first movie that he did under his own name was 1958's I Want To Live, for which he did an all-Jazz score. His film work continued with An American Dream (featuring "A Time For Love"), The Russians Are Coming, The Last Detail, Deathtrap, Agatha,You're Never Too Young, Harper, Being There ( Peter Sellers starred), The Sailor Who Fell From Grace With The Sea, Caddyshack, M*A*S*H (his Theme for the TV show Mash became the hit song "Suicide Is Painless"), The Verdict, and The Americanization Of Emily, (his first hit song, "Emily," with a Johnny Mercer lyric), and The Sandpiper, his hit "The Shadow Of Your Smile," captured both 'Academy' and 'Grammy' Awards for Mandel and lyricist Paul Webster in 1965. These represented his first "true" songs. Previously, he had composed only instrumentals, such as "Pot Luck", "Hershey Bar", and "The Straight Life". Now, -working with lyricists Alan and Marilyn Bergman, he helped write such classics as "Take Me Home," "Sure As You're Born," "Cinnamon And Clove," "Where Do You Start", and many others.

During the '70s, '80s, and '90s, Mandel continued to work producing arrangements and/or production for such stars as Michael Jackson, Barbra Streisand, Natalie Cole (seven arrangements on her Grammy-winning Unforgettable album), Shirley Horn, Quincy Jones, Miles Davis, as well as his own solo work. On a final note, we can do no better than to quote Johnny directly as he echos a rather common sentiment these days - that Popular music is in something of a rut.
  "In recent years my tastes have narrowed a lot. Up until the early '80s I listened to
  everything, but I stopped wanting to listen to pop music at around the time that MTV
  came in. And I'll tell you why: music before then was far more interesting because
  the music itself was far more important -- you didn't have the visual element, so
  whatever went on the radio had to be pretty interesting. Now if record companies
  can't make a good video, they won't make a record."

Over his career, Johnny has won four Grammies and six nominations, as well as three Emmy nominations, all in addition to his Academy Award and two nominations.

       Cecil Mack
b: 1883, Norfolk, VA, USA. d: 1944, New York, NY, USA.
né: Richard C. McPherson
Mack received his primary education at the Norfolk Mission School, and later attended Pennsylvania's Lincoln University. Some say that he did not matriculate due to a lack of funds. Curiously, it is known that he attended the University of Pennsylvania Medical School for one semester.

In 1901, Mack wrote the lyrics to "Good Morning, Carrie" for Bert Williams and George Walker (two men with whom he continued to work with for many years), who sang it on their RCA Victor recordings. In 1904, he had his first big hit, "Teasing", with music by Harry Von Tilzer, a White New York composer and publisher. Mack had already written lyrics for other songs including "The Little Gypsy Maid" (show: The Wild Rose), and "Zono, My Congo Queen."

Early in 1905, Mack formed the Gotham Music Publishing Company, which during its four month long existence, released works by such Black composers as Will Marion Cook, James Reese Europe, and Mack himself. Another New York firm, the Attucks Music Publishing Company, which had been started about the same time, was also publishing works of Black composers such as Alex Rogers, Jesse A. Shipp, Chris Smith, and Bert Williams. On May 29, 1905, the two firms merged forming the Gotham-Attucks Music Publishing Company. perhaps New York's first Black-owned publishing company. The firm existed for about six years during which time it published music from two of the Bert Williams and George Walker musicals, In Abyssinia and Bandana Land. In 1908, virtually all the songwriters departed the company leaving just Mack and a composer named Chris Smith.

Between 1908 and 1910, Cecil Mack wrote the lyrics for many songs, including one for Ada Overton Walker, George Walker's wife, "I'm Miss Hanna From Savannah". For the 1907 Ernest Hogan and minstrel Billy McLain show The Black Politician, he wrote the lyrics to James Reese Europe's music. In 1910, Mack and composer Ford Dabney composed a song (published by Gotham-Attucks) for the show His Honor the Barber Sung by Ada Walker, the song was named "That's Why They Call Me Shine". Over the years, it has been reprised by such diverse artists as Louis Armstrong, Ry Cooder, and Ella Fitzgerald, and is now known simply as "Shine". Another Black composer, Perry Bradford, has told interviewers that the tune was written about a real man, named Shine, who, during the 1900 Harlem race riot, was beaten while walking along with his friend George Walker. In 1911, Ferdinand E. Mierisch bought the Gotham-Attucks closing the chapter on what may have been New York's first Black-owned music publisher.

In 1923, Flournoy E. Miller and Aubrey Lyles, two comedians who had appeared in the show Shuffle Along decided to produce a show of their own called Runnin' Wild. They asked two of the men who had written for Shuffle Along, James P. Johnson, and Cecil Mack, to provide the songs. In his book, composer Perry Bradford, has said that the show almost didn't open because it was tied up in Pittsburgh with "a royalty accounting rope" due to financial differences between Miller and Lyles and the songwriters. But the show did open and it did include a song that Johnson had first written in 1913. Now, Mack added a lyric, and the tune was called "Charleston". It became an immediate sensation. America became Charleston Mad. The entertainment newspaper Variety reported that "in Boston's Pickwick Club, a tenderloin dance hall, the vibrations of Charleston dancers caused the place to collapse, killing fifty."

Two years later, in 1925, Mack, Jesse Shipp, and James P. Johnson collaborated on the score for the show Mooching Along. Mack also formed his own vocal group, Cecil Mack's Southland Singers, who, four years later, appeared in Lew Leslie's show Bombolla. In 1931, the Southland Singers appeared in another Lew Leslie revue, Rhapsody in Black. In addition to Mack, other composers who contributed to the show included George Gershwin, Rosamond Johnson, Dorothy Fields, Jimmy McHugh, and W. C Handy.

In retrospect, we can now see that it was the work of such musicians as Eubie Black, Noble Sissle, Perry Bradford, James P. Johnson, and Cecil Mack that helped to finally break down racial barriers in the world of show business. Richard C. McPherson, aka Cecil Mack, died in New York in 1944. His most famous work, the "Charleston", became a musical hallmark of the 1920s, made a lot of money, and may never be forgotten. Ironically, it is a song for which no one remembers the words. Even more ironic is that fact that virtually no one now recalls that Mack wrote the lyric. For a man with no formal training in music or the theater, Mack had a truly amazingly career.

       Vivek Maddala
b: August 17, 1973, Rochester, NY, USA
Currently no information available.
One of the new breed of movie composers. Among the films on which he has worked are:
1928 Mysterious Lady, The. (contributed the 2002 edition score.)
1927 Flag: A Story Inspired by the Tradition of Betsy Ross, The. (2002 score w/some new music. Orchestrator, Conductor)
1921 Ace of Hearts, The. (was the orchestrator (and some new music) for the 2000 score.)

       Zeke Manners
b. Oct. 10, 1911, San Francisco, CA, USA, d. Oct. 14, 2000.
né: Leo Ezekiel Mannes.
aka: "The Jewish Hillbilly", and sometimes as "Zeke Craddock".
Basically a multi-instrumentalist (piano/accordion/guitar), Zeke was mainly well known to West Coast (USA) audiences of the 1930s. He led his own orchestra, The Beverly Hill Billies, a group that included Stuart Hamblen and Elton Britt. It was the West Coast's first 'hillbilly' band. Interestingly, in later years, actor Buddy Ebsen had a very popular TV show entitled "The Beverly Hillbillies". Whether by accident or design, the two men became friends, and even composed a group of songs together. Here's a photo of Zeke and 6 foot 3 inch Buddy. Zeke later worked as a DJ for several Los Angeles radio stations including KFWB, KLAC adn KMPC. Here's a photo of Zeke at KFWB in 1954. Manners is an inductee of the Radio and Television Hall of Fame.

One of his compositions, the "Pennsylvania Polka", was a national hit, and working with Buddy Ebsen, he composed such other tunes as:
      "Lahaina", Co-composed with Buddy Ebsen.
      "The "Cue" music for the Carol Burnett show. Co-composed with Buddy Ebsen.
      "Peach Pickin' Time", Co-composed with Buddy Ebsen
      "The Turkey Trot", Co-composed with Zeke Buddy Ebsen
      "Piece of the Past", Co-composed with Buddy Ebsen
      "Los Angeles", co-composed with guitarist Les Paul.