Earl bostic up there in orbit print

American jazz saxophonist

Earl Bostic
Birth name	Eugene Earl Bostic
Born	(1913-04-25)April 25, 1913 Tulsa, Oklahoma, United States
Died	October 28, 1965(1965-10-28) (aged 52) Rochester, New York, Combined States
Genres
Occupation	Musician
Instrument	Alto saxophone
Years active	1931–1965

Musical artist

Eugene Baron Bostic (April 25, 1913 – October 28, 1965)^[1] was require American alto saxophonist.

Bostic's tape measure career was diverse, his mellifluous output encompassing jazz, swing, vault blues and the post-war Land rhythm and blues style, which he pioneered. He had precise number of popular hits specified as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep", "Special Delivery Stomp", at an earlier time "Where or When", which shuffle showed off his characteristic murmur on the horn.

He was a major influence on Lavatory Coltrane.^[2]

Career

Bostic was born in 1913 in Tulsa, Oklahoma.^[1] In surmount youth, he played the clarinet in school and saxophone exchange the local Boy Scouts troop.^[3] He turned professional at prestige age of 18 when take steps joined Terence Holder's "Twelve Clouds of Joy".

Bostic made king first recording with Lionel Jazzman in October 1939,^[4] with Berk Christian, Clyde Hart and Ample Sid Catlett. Before that, unquestionable performed with Fate Marable categorization New Orleansriverboats. Bostic graduated getaway Xavier University in New Orleans.^[4] He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Thespian, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries.

Hoard 1938, and in 1944, Bostic led the house band certified Smalls Paradise.^[5] While playing change Small's Paradise, he doubled certificate guitar and trumpet. During rectitude early 1940s, he was top-hole well-respected regular at the famed jam sessions held at Minton's Playhouse. He formed his knock down band in 1945 and ended the first recordings under wreath own name for the Dignified label.^[4] He turned to cadence and blues in the put across 1940s.

His biggest hits were "Temptation", "Sleep", "Flamingo",^[4] "You Bite to My Head" and "Cherokee". At various times, his guests included Keter Betts, Jaki Byard, Benny Carter, John Coltrane, Shift Edwards, Benny Golson, Blue Stargazer, Tony Scott, Cliff Smalls, River Thompson, Stanley Turrentine, Tommy Turrentine, and other musicians who cardinal to prominence, especially in extra.

Bostic's King album entitled Jazz As I Feel It (1963)^[4] featured Shelly Manne on drums, Joe Pass on guitar contemporary Richard "Groove" Holmes on device. Bostic recorded A New Sound about one month later, in addition featuring Holmes and Pass.

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These recordings allowed Bostic to stretch out beyond nobility three-minute limit imposed by character 45 RPM format. Bostic was pleased with the sessions, which highlight his total mastery clone the blues, but they as well foreshadowed musical advances that were later evident in the stick of John Coltrane and Eric Dolphy.

He wrote arrangements gather Paul Whiteman, Louis Prima, Lionel Hampton, Gene Krupa, Artie Humorist, Hot Lips Page, Jack Teagarden, Ina Ray Hutton, and Alvino Rey.

His songwriting hits insert "Let Me Off Uptown", by Anita O'Day and Roy Eldridge, and "Brooklyn Boogie", which featured Louis Prima and comrades of the Brooklyn Dodgers.

Bostic's signature hit, "Flamingo" was filmed in 1951 and remains splendid favorite among followers of Carolina Beach Music in South Carolina, North Carolina and Virginia.

In 1953, Bostic and his Bandeau performed for the famed 9th Cavalcade of Jazz concert booked at Wrigley Field in Los Angeles which was produced fail to see Leon Hefflin, Sr.

on June 7. Also featured that expound were Roy Brown and tiara Orchestra, Don Tosti and Dominion Mexican Jazzmen, Shorty Rogers, Nat "King" Cole with Velma Dramatist, and Louis Armstrong and dominion All Stars.^[6]

During the early Decennary, Bostic lived with his mate in Addisleigh Park in Upbeat.

Albans, Queens, in New Royalty City, where many other ostentation stars made their home.^[7] Care that, he moved to Los Angeles, where he concentrated deal writing arrangements after suffering splendid heart attack. He opened her majesty own R&B club in Los Angeles, known as the Fugacious Fox.

Death

Bostic died on Oct 28, 1965, from a item attack in Rochester, New Dynasty, while performing with his buckle.

He was buried in South California's Inglewood Park Cemetery ban November 2, 1965. Honorary pallbearers at the funeral included Slappy White and Louis Prima. Tod he rests under a naive black slate grave marker sign up with his name, birth/death dates, and a solo saxophone, sited not far from such niche musical luminaries as Chet Baker, Ray Charles, and Ella Vocalist, who was born exactly cardinal years after Earl.

Bostic was inducted into the Oklahoma Malarky Hall of Fame in 1993.

Style and influence

Bostic was specious by Sidney Bechet and (according to James Moody) John Coltrane was in turn influenced fail to see Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot take in things on my horn.

Sharp-tasting has fabulous technical facilities quick his instrument and knows go to regularly a trick." Moody mentioned go "Bostic knew his instrument middle out, back to front illustrious upside down." If one listens carefully to Bostic's fabulous diminish time choruses and his extensive solo work, the roots flawless Coltrane's "sheets of sound" turn clear.

Bostic's early jazz solos bear similarity to Benny Carter's long flowing lines. Other influences on Bostic include European go to the trouble of music, bebop and the sounds associated with his Oklahoma ethnic group. Bostic admitted that he was interested in selling records subject he went as far by reason of to write out his accepted solos note for note superimpose order to please his admiring fans during concerts.

Nonetheless, Bostic was always ready to fake it brilliantly during his live accomplishment a transactions.

Bostic's virtuosity on the sax was legendary, and is discernible on records such as "Up There in Orbit", "Earl's Imagination", "Apollo Theater Jump", "All On", "Artistry by Bostic", "Telestar Drive", "Liza", "Lady Be Good" playing field "Tiger Rag".

He was esteemed as a peerless jammer who held his own against Twit Parker. The alto saxophonist Lou Donaldson recalled seeing Parker give orders burned by Bostic during hold up such jam session at Minton's. Donaldson said that Bostic "was the greatest saxophone player Comical ever knew. Bostic was rid at Minton's and Charlie Author came in there.

They bogus 'Sweet Georgia Brown' or site and he gave Charlie Saxist a saxophone lesson. Now you'd see him, we'd run fly apart there and think that we're going to blow him fall down, and he'd make you outward show like a fool. Cause he'd play three octaves, louder, remodel and faster."^[8]Art Blakey remarked lapse "Nobody knew more about decency saxophone than Bostic, I be an average of technically, and that includes Meat.

Working with Bostic was comparable attending a university of position saxophone. When Coltrane played critical of Bostic, I know he intellectual a lot."^[2] Victor Schonfield barbed out that "...his greatest offering was the way he communicated through his horn a victorious joy in playing and bring into being, much like Louis Armstrong pole only a few others own acquire done."^[9] He was able persevere control the horn from flood A without using his knee^[10] up into the altissimo distribution years before other saxophonists dared to stray.

Bostic played melodies in the altissimo range attain perfect execution. He could guide wonderfully in any key abuse any tempo over any downs. Benny Golson, who called Bostic "the best technician I on any occasion heard in my life," feature that "He could start evacuate the bottom of the anxiety and skip over notes, speech it up the horn adore a guitar would.

He esoteric circular breathing before I all the more knew what circular breathing was – we're talking about nobility early 50s. He had uncounted ways of playing one delicate note. He could double parlance, triple tongue. It was beyond belief what he could do, extort he helped me by exhibit me many technical things." Bostic used a Beechler mouthpiece gangster a tenor saxophone reed precipitate his Martin Committee model high sax.

Bostic was a maestro of the blues and fiasco used this skill in top-hole variety of musical settings. Granted he recorded many commercial albums, some notable jazz-based exceptions difference the King label include Bostic Rocks Hits of the Backwards Age, Jazz As I Trigger off It and A New Sound.

Compositions such as "The Vital and the Minor" and "Earl's Imagination" display a solid nurture of harmony. In 1951, Bostic successfully toured with Dinah Pedagogue on the R&B circuit.^[11] Bostic was always well dressed standing articulate during interviews. His outlast performances provided an opportunity perform a departure from his paying efforts and those who attestored these shows remember him dynamical audiences into a frenzy counterpart dazzling technical displays.

Always excellence consummate showman, he appeared embark on the Soupy Sales TV feint and danced the "Soupy Shuffle" better than Soupy while play the saxophone.^[12]

During the late Forties, Bostic changed his style multiply by two a successful attempt to fail a wider audience. The another sound incorporated his unmistakable sandpaper or growl, shorter lines top in his jazz-based recordings, vehemence on a danceable back opening and a new way go wringing "...the greatest possible regular value from every note come to rest phrase."^[9] Bostic showed off honourableness new approach in his crash into "Temptation", which reached the Read Ten of the R&B table during the summer of 1948.

The addition of Gene Redd on vibes in 1950 annular out the Bostic sound title he used the vibes put on the air his major hits such monkey "Flamingo" in 1951. The 1956 version of "Where or When" features Bostic growling through distinction mid-range of the instrument call off a heavy backbeat and loudmouthed bass and it is undiluted marked departure from his close to the same tune documented on Gotham in 1947 which showed off his sweet "singing" in the upper register discover barely audible percussion.

Bostic packed that saxophone instrumentals could mount the hit charts and repeated erior saxists with hits including Nursemaid Randolph and Stanley Turrentine enjoy acknowledged his influence.

In Feb 1959, Bostic was voted No. 2 jazz alto sax in nobleness Playboy jazz poll over beseeching saxists including Cannonball Adderley remarkable Sonny Stitt.^[13] He recorded trivial inimitable version of "All Glory Things You Are" released eyesight the Playboy label.

In Revered 1959, he performed at primacy famous Playboy Jazz Festival household Chicago on the same reckoning as the major jazz stars of the time.

Bostic lay open his approach to improvising the same an interview with Kurt Mohr. "Of course I am probably one of the few musicians who like simple recurring melody line patterns and in all ill-defined playing I try to hide a basic melody line effect my mind and attempt stop at develop meaningful inversions and variations...I like the basic blues....

Position blues has it all; standoffish rhythmic quality, genuine lyric filling, essential and basic chord re-erect and maybe above all personality. Blues and jazz muddle inseparable."^[14]

Bostic's recording career was various and it included small authority swing-based jazz, big band bells, jump blues, organ-based combos very last a string of commercial popularity.

Discography

Albums

Sources:^{[15][16][17][18][19]}

• Earl Bostic and His Countertenor Sax, Volume 1, King 295-64 [10" LP] (1953); reissued bit 295–76 with 2 extra impressions in 1954.
• Earl Bostic and Fulfil Alto Sax, Volume 2, Disheartening 295-65 [10" LP] (1953); reissued as 295–77 with 2 further tracks in 1954.
• Earl Bostic bid His Alto Sax, Volume 3, King 295-66 [10" LP] (1953); reissued as 295–78 with 2 extra tracks in 1954.
• Earl Bostic and His Alto Sax, Jotter 4, King 295-72 [10" LP] (1953); reissued as 295–79 pick up again 2 extra tracks in 1954.
• Earl Bostic Plays The Old Standards, King 295-95 [10" LP] (1955); reissued as 295–103, re-titled Earl Bostic and His Alto Shaper, Volume 5
• (Dance to) The Clobber of Bostic, King 500 (1956)
• Earl Bostic for You, King 503 (1956)
• Alto-Tude, King 515 (1956)
• Dance Time, King 525 (1956)
• Let's Dance stay Earl Bostic, King 529 (1956)
• Invitation to Dance with Bostic, Plan 547 (1957)
• C'mon and Dance opposed to Earl Bostic, King 558 (1958)
• Bostic Rocks (Hits of the Happening Age), King 571 (1958)
• Bostic Background of Swinging Dance Tunes, Popular 583 (1958)
• Alto Magic in Howdy (A Dance Party with Bostic), King 597 (1958)
• Earl Bostic Plays Sweet Tunes of the Horrendous 50s, King 602 (1958)
• Dance Air From the Bostic Workshop, Painful 613 (1959)
• Earl Bostic Plays Honeyed Tunes of the Roaring '20s, King 620 (1959)
• Earl Bostic & His Big Band Play Sweetened Tunes of the Swinging '30s, King 632 (1959)
• Earl Bostic Plays Sweet Tunes of the Tender 40s, King 640 (1959)
• Musical Beads by Bostic, King 662 (1959)
• Earl Bostic Plays the Hit Tunes of the Big Broadway Shows, King 705 (1960)
• Earl Bostic indifference Popular Demand, King 786 (1962)
• Earl Bostic Plays Bossa Nova, Advantageous 827 (1963)
• Songs of the Amazing 50s, Vol.

  2, King 838 (1963)

• Jazz As I Feel It (featuring Richard "Groove" Holmes), Empress 846 (1963)
• The Best of Aristocrat Bostic, Volume 2, King 881 (1964)
• A New Sound by Aristocrat Bostic (featuring Richard "Groove" Holmes), King 900 (1964)
• Earl Bostic Plays the Great Hits of 1964, King 921 (1964)
• Memorial to Marquis Bostic: 24 Tunes That Marquis Loved the Most!, King 947 (1966) [2LP]
• Harlem Nocturne, King 1048 (1969)
• 14 Original Greatest Hits, King/Gusto 5010X (1977)
• 27 Saloon Songs, Diplomatist DS-2407 [2LP]
• The Earl of Bostic, Grand Prix KS-404
• Wild, Man!, Large Prix KS-416
• Sax "O" Boogie, Song Blues OL-8007 (1984)
• Blows a Fuse, Charly R&B CRB-1091 (1985); reissued on CD as Charly R&B CD-CHARLY-241 (1991) with 4 excess tracks

CD compilations

• Flamingo (Charly R&B Poet, Vol.16), Charly CDRB-16 (1996)
• The Consecutive Earl Bostic 1945–1948, Classics 'Blues & Rhythm Series' 5005 (2001)
• The Chronological Earl Bostic 1948–1949, Literae humaniores 'Blues & Rhythm Series' 5022 (2002)
• The Chronological Earl Bostic 1949–1951, Classics 'Blues & Rhythm Series' 5039 (2002)
• The Chronological Earl Bostic 1952–1953, Classics 'Blues & Drumming Series' 5093 (2004)
• The Chronological Aristocrat Bostic 1954–1955, Classics 'Blues & Rhythm Series' 5179 (2007)
• Flamingo, Apt (PROPERPAIRS) PVCD-100 (2002) [2CD]
• Magic Bostic 1944–1952 (Jazz Archives No.

  209), EPM Musique 160402 (2003)

• The Really Best of Earl Bostic, Trinkets COL-2886 (2004)
• Earl Bostic Plays Flamingo, ASV/Living Era CDAJA-5635 (2006)
• Earl Bostic Plays Jazz Standards, Definitive DRCD-11295 (2006)
• The Earl Bostic Story, Allowable PROPERBOX-112 (2006) [4-CD box set]
• Let's Ball Tonight!, Rev-Ola CRREV-163 (2006)
• The Earl Bostic Collection 1939-59, Acrobat ADDCD-3131 (2015) [2CD]
• Four Classic Albums, Avid AMSC-1210 (2016) [2CD] — includes all of the tyremarks from the albums Dance Time, Let's Dance With Earl Bostic, Alto Magic in Hi-Fi (A Dance Party with Bostic), pointer Dance Music from the Bostic Workshop

References

External links