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Re: [ARSCLIST] Yet another great box set from Mosaic

   Earl Bostic (April 25, 1913 ? October 28, 1965) was an American jazz and rhythm and blues alto saxophonist, a pioneer of the post-war American Rhythm and Blues style. He had a number of popular hits such as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep" and "Where or When", which showed off his characteristic growl on the horn. He was a major influence on John Coltrane(1,2)

  Bostic was born in Tulsa, Oklahoma. He turned professional at age 18 when he joined Terrence Holder's 'Twelve Clouds of Joy'. He made his first recording with Lionel Hampton in 1942 where he played along with Red Allen, J. C. Higginbotham, Sid Catlett, Teddy Wilson and Hampton. Before that he performed with Fate Marable on New Orleans riverboats. Bostic graduated from Xavier University in New Orleans. He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries. In 1938, and in 1944, Bostic led the house band at Small's Paradise.(3) While playing at Small's Paradise, he doubled on guitar and trumpet. During the early 1940s, he was a well respected regular at the famous jam sessions held at Minton's Playhouse. He formed his own band in 1945, and turned to rhythm and blues in the late 1940s. His biggest hits were "Temptation," "Sleep," "Flamingo," "You Go
 to My Head" and "Cherokee." At various times his band included Jaki Byard, John Coltrane, Benny Golson, Blue Mitchell, Stanley Turrentine, Tommy Turrentine, Keter Betts, Sir Charles Thompson, Teddy Edwards, Tony Scott, Benny Carter and other musicians who rose to prominence in jazz.
 Bostic's King album titled Jazz As I Feel It featured Shelly Manne on drums, Joe Pass on guitar and Groove Holmes on organ. Bostic recorded A New Sound about one month later again featuring Holmes and Pass. These recordings allowed Bostic to stretch out beyond the 3 minute limit imposed by the 45 RPM format. Bostic was pleased with the sessions which highlight his total mastery of the blues but they also foreshadowed musical advances that were later evident in the work of John Coltrane and Eric Dolphy.
 He wrote arrangements for Paul Whiteman, Louis Prima, Lionel Hampton, Gene Krupa, Artie Shaw, Hot Lips Page, Jack Teagarden, Ina Ray Hutton and Alvino Rey.
 His songwriting hits include "Let Me Off Uptown" performed by Anita O'Day and Roy Eldridge and "Brooklyn Boogie" which featured Louis Prima and members of the Brooklyn Dodgers.
 Bostic's signature hit, "Flamingo" was recorded in 1951 and remains a favorite among followers of Carolina Beach Music in South Carolina, North Carolina and Virginia.
 During the early 1950s Bostic lived with his wife in Addisleigh Park where many other jazz stars made their home.(5) After that he moved to Los Angeles where he concentrated on writing arrangements after suffering a heart attack.
 Bostic died from a heart attack in Rochester, New York, while performing with his band in 1965.
   Style and Influence Bostic was influenced by Sidney Bechet and (according to James Moody) Coltrane in turn was influenced by Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick." Moody mentioned that "Bostic knew his instrument inside out, back to front and upside down." If one listens carefully to Bostic's fabulous stop time choruses and his extended solo work, the roots of Coltrane's "sheets of sound" become clear.
 Bostic's virtuosity on the saxophone was legendary, and is evident 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 and Tiger Rag. He was famous as a peerless jammer and held his own against Charlie Parker. The alto saxophonist Sweet Papa Lou Donaldson recalled seeing Parker get burned by Bostic during one such jam session. Art Blakey remarked that "Nobody knew more about the saxophone than Bostic, I mean technically, and that includes Bird. Working with Bostic was like attending a university of the saxophone.When Coltrane played with Bostic, I know he learned a lot"(1) Victor Schonfield pointed out that "...his greatest gift was the way he communicated through his horn a triumphant joy in playing and being, much like Louis Armstrong and only a few others have done." He was able to control the horn from low B flat up into the altissimo range years before other saxophonists dared to
 stray. Bostic was able to play melodies in the altissimo range with perfect execution. He could play wonderfully in any key at any tempo over any changes. Benny Golson, who called Bostic "the best technician I ever heard in my life," mentioned that "He could start from the bottom of the horn and skip over notes, voicing it up the horn like a guitar would. He had circular breathing before I even knew what circular breathing was - we're talking about the early 50s. He had innumerable ways of playing one particular note. He could double tongue, triple tongue. It was incredible what he could do, and he helped me by showing me many technical things." Bostic used a Beechler mouthpiece with a tenor saxophone reed on his Martin Committee model alto sax.(2)
 Bostic was a master of the blues and he used this skill in a variety of musical settings. Although he recorded many commercial albums, some notable jazz based exceptions on the King label include Bostic Rocks Hits of the Swing Age, Jazz As I Feel It and A New Sound. Compositions like "The Major and the Minor" and "Earl's Imagination" display a solid knowledge of harmony. In 1951, Bostic successfully toured with Dinah Washington on the R&B circuit.(4) Bostic was always well dressed and articulate during interviews. His live performances provided an opportunity for a departure from his commercial efforts and those who witnessed these shows remember him driving audiences into a frenzy with dazzling technical displays. Always the consummate showman, he appeared on the Soupy Sales TV show and performed the Soupy Shuffle better than Soupy while playing the saxophone.(6)
 His popular hits such as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep" and "Where or When" showed off his characteristic growl on the horn. He adopted a danceable beat for these commercial successes while employing less notes than on his jazz based recordings. Gene Redd 
See also : 

Dance to The Best of Bostic King 500
(Compiled from rare 10" Lps,one of which I own on the UK Parlophone.)
Earl Bostic "For You" King 503
"Alto-tude" King 515
"Dance Time" King 525
"Let's Dance With Earl Bostic" King 529
"Alto Magic In Hi-Fi" King 597
"Bostic Workshop" King 613 (The only one here I have never owned.)
"Earl Bostic Plays Hit Tunes of Big Broadway Shows" King 705
"Earl Bostic Plays the Great Hits of 1964" King 921.

There are also his "decades" Lps with "tunes of the" 30s,40s,50s,as well as a 1965 Polydor memorial Lp,that was only issued in Holland,where mine is from, and Germany,as far as I know.


Dance to the Best Of Bostic 
Tom Fine <tflists@xxxxxxxxxxxxxxxxxxx> wrote: Hi Aaron:

Can you cite some albums or songs you like? Thanks!

-- Tom Fine 

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