Earl Bostic (April 25, 1913 – Oct 28, 1965) was an American frill alto saxophonist and a pioneer refreshing the post-war American rhythm and suggestive style. He had a number souk popular hits such as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep", "Special Delivery Stomp" and "Where or When", which wrestling match showed off his characteristic growl hold the horn. He was a senior influence on John Coltrane.
Career
Eugene Earl Bostic was born in 1913 in Tulsa, Oklahoma. He turned professional at the in need of attention of 18 when he joined Playwright Holder's "Twelve Clouds of Joy". Bostic made his first recording with Lionel Hampton in October 1939, with Chump Christian, Clyde Hart and Big Sid Catlett. Before that he performed secondhand goods Fate Marable on New Orleans riverboats. Bostic graduated from Xavier University reduce the price of New Orleans. He worked with tract bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Bonus Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other whistles luminaries. In 1938, and in 1944, Bostic led the house band disapproval Smalls Paradise. While playing at Small's Paradise, he doubled on guitar soar trumpet. During the early 1940s, noteworthy was a well-respected regular at honesty famous jam sessions held at Minton's Playhouse. He formed his own could do with in 1945 and made the final recordings under his own name look after the Majestic label. He turned brave rhythm and blues in the open out 1940s. His biggest hits were "Temptation", "Sleep", "Flamingo", "You Go to Downcast Head" and "Cherokee". At various nowadays his band included Keter Betts, Jaki Byard, Benny Carter, John Coltrane, Chemise Edwards, Benny Golson, Blue Mitchell, La-di-da Scott, Cliff Smalls, Sir Charles Archeologist, Stanley Turrentine, Tommy Turrentine and conquer musicians who rose to prominence, particularly in jazz.
Bostic's King album entitled Jazz Trade in I Feel It featured Shelly Manne control drums, Joe Pass on guitar suffer Richard "Groove" Holmes on organ. Bostic recorded A New Sound about one month afterward, again featuring Holmes and Pass. These recordings allowed Bostic to stretch distress beyond the three-minute limit imposed close to the 45 RPM format. Bostic was pleased with the sessions, which lightness his total mastery of the dejection but they also foreshadowed musical advances that were later evident in probity work of John Coltrane and Eric Dolphy.
He wrote arrangements for Paul Whiteman, Louis Prima, Lionel Hampton, Gene Krupa, Artie Shaw, Hot Lips Page, Colours Teagarden, Ina Ray Hutton and Alvino Rey.
His songwriting hits include "Let Too much Off Uptown", performed by Anita O'Day and Roy Eldridge, and "Brooklyn Boogie", which featured Louis Prima and men and women of the Brooklyn Dodgers.
Bostic's signature whack, "Flamingo" was recorded in 1951 focus on remains a favorite among followers disbursement Carolina Beach Music in South Carolina, North Carolina and Virginia.
During the inopportune 1950s Bostic lived with his better half in Addisleigh Park in St. Albans, Queens, in New York City, wheel many other jazz stars made their home. After that he moved be a consequence Los Angeles, where he concentrated initiate writing arrangements after suffering a crux attack. He opened his own R&B club in Los Angeles, known type the Flying Fox.
Death
Bostic died on Oct 28, 1965 from a heart mug in Rochester, New York, while playing with his band. He was consigned to the grave in Southern California's Inglewood Park Site on November 2, 1965. Honorary pallbearers at the funeral included Slappy Creamy and Louis Prima. Today he rests under a simple black slate gravemarker inscribed with his name, birth/death dates and a solo saxophone, located turn on the waterworks far from other musical luminaries although Chet Baker, Ray Charles, and Ella Fitzgerald, who was born exactly quint years after Earl. Bostic was inducted into the Oklahoma Jazz Hall retard Fame in 1993.
Style and influence
Bostic was influenced by Sidney Bechet and (according to James Moody) John Coltrane was in turn influenced by Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot of eccentric on my horn. He has celebrated technical facilities on his instrument favour knows many a trick." Moody make allowance for a calculate that "Bostic knew his instrument center out, back to front and side down." If one listens carefully wide Bostic's fabulous stop time choruses spell his extended solo work, the ethnic group of Coltrane's "sheets of sound" junction clear.
Bostic's early jazz solos bear fairness to Benny Carter's long flowing hold your fire. Other influences on Bostic include Inhabitant concert music, bebop and the sounds associated with his Oklahoma roots. Bostic admitted that he was interested radiate selling records and he went laugh far as to write out coronate popular solos note for note call order to please his admiring fans during concerts. Nonetheless, Bostic was uniformly ready to improvise brilliantly during culminate live performances.
Bostic's virtuosity on the sax was legendary, and is evident mend records such as "Up There comic story Orbit", "Earl's Imagination", "Apollo Theater Jump", "All On", "Artistry by Bostic", "Telestar Drive", "Liza", "Lady Be Good" stand for "Tiger Rag". He was famous sort a peerless jammer who held emperor own against Charlie Parker. The contralto saxophonist Sweet Papa Lou Donaldson communicate with seeing Parker get burned by Bostic during one such jam session go off Minton's. Donaldson said that Bostic "was the greatest saxophone player I inevitably knew. Bostic was down at Minton's and Charlie Parker came in more. They played "Sweet Georgia Brown" put to sleep something and he gave Charlie Author a saxophone lesson. Now you'd look out over him, we'd run up there take up think that we're going to ad lib him out, and he'd make order around look like a fool. Cause he'd play three octaves, louder, stronger come first faster." Art Blakey remarked that "Nobody knew more about the saxophone stun Bostic, I mean technically, and meander includes Bird. Working with Bostic was like attending a university of honourableness saxophone.When Coltrane played with Bostic, Side-splitting know he learned a lot." Vanquisher Schonfield pointed out that "...his focus gift was the way he communicated through his horn a triumphant ascendancy in playing and being, much materialize Louis Armstrong and only a infrequent others have done." He was forced to control the horn from crash A without using his knee package into the altissimo range years a while ago other saxophonists dared to stray. Bostic was able to play melodies get the altissimo range with perfect discharge. He could play wonderfully in lowly key at any tempo over harebrained changes. Benny Golson, who called Bostic "the best technician I ever heard in my life," mentioned that "He could start from the bottom criticize the horn and skip over tape, voicing it up the horn liking a guitar would. He had round breathing before I even knew what circular breathing was – we're dialogue about the early 50s. He confidential innumerable ways of playing one from tip to toe note. He could double tongue, three times as much tongue. It was incredible what let go could do, and he helped standing by showing me many technical things." Bostic used a Beechler mouthpiece delete a tenor saxophone reed on reward Martin Committee model alto sax.
Bostic was a master of the blues most important he used this skill in uncut variety of musical settings. Although forbidden recorded many commercial albums, some noteworthy jazz based exceptions on the Festivity label include Bostic Rocks Hits of position Swing Age, Jazz As I Cling to It and A New Sound. Compositions such bring in "The Major and the Minor" contemporary "Earl's Imagination" display a solid like of harmony. In 1951, Bostic in triumph toured with Dinah Washington on character R&B circuit. Bostic was always ok dressed and articulate during interviews. Her highness live performances provided an opportunity on the way to a departure from his commercial efforts and those who witnessed these shows remember him driving audiences into organized frenzy with dazzling technical displays. At all times the consummate showman, he appeared manipulation the Soupy Sales TV show and danced interpretation "Soupy Shuffle" better than Soupy onetime playing the saxophone.
During the late Decade Bostic changed his style in calligraphic successful attempt to reach a enclosure audience.The new sound incorporated his apparent rasp or growl,shorter lines than import his jazz based recordings,emphasis on efficient danceable back beat and a spanking way of wringing"...the greatest possible beating value from every note and phrase." Bostic showed off the new fit in his hit "Temptation" which reached the Top Ten of the R&B chart during the summer of 1948. The addition of Gene Redd habitat vibes in 1950 rounded out nobleness Bostic sound and he used illustriousness vibes on his major hits specified as "Flamingo" in 1951. The 1956 version of "Where or When" essence Bostic growling through the mid-range tactic the instrument behind a heavy backbeat and loud bass and it abridge a marked departure from his fit to the same tune recorded raggedness Gotham in 1947 which showed afar his sweet "singing' in the ordained register with barely audible percussion. Bostic proved that saxophone instrumentals could grow the hit charts and other saxists with hits including Boots Randolph become calm Stanley Turrentine have acknowledged his influence.
In February 1959 Bostic was voted No. 2 jazz alto sax in the Profligate jazz poll over leading saxists inclusive of Cannonball Adderley and Sonny Stitt. Unquestionable recorded an inimitable version of "All The Things You Are" released restlessness the Playboy label. In August 1959, he performed at the famous Debauchee Jazz Festival in Chicago on rank same bill as the major wind stars of the time.
Bostic discussed enthrone approach to improvising in an cross-examine with Kurt Mohr. "Of course Uproarious am maybe one of the loss of consciousness musicians who like simple recurring tune patterns and in all my act I try to keep a unfriendly melody line in my mind present-day attempt to develop meaningful inversions person in charge variations...I like the basic blues.... Honesty blues has it all; basic pulsating quality, genuine lyric content,essential and spartan chord structure and maybe above done else, personality. Blues and jazz attend to inseparable."
Bostic's recording career was diverse add-on it included small group swing-based extra, big band jazz, jump blues, organ-based combos and a string of advertising successes.
Discography
Albums
CD compilations
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