Earl Bostic - Blues & Rhythm Series 5179: The Chronological Earl Bostic 1954-1955

Size: 160 MB
Time: 59:43
File: FLAC
Released: 2007
Styles: Blues, R&B
Art: Full

01. There Is No Greater Love (3:08)
02. Oh Baby (2:38)
03. Blues Skies (2:51)
04. Mambostic (2:35)
05. Ven-A-Mi (2:37)
06. Time On My Hands (2:39)
07. Mambolino (2:44)
08. These Foolish Things (2:41)
09. Ubangi Stomp (2:09)
10. Song Of The Islands (2:49)
11. Cherry Bean (2:26)
12. Liebestraum (2:47)
13. Night And Day (3:38)
14. Embraceable You (2:50)
15. Sweet Loraine (2:45)
16. I Solemny Swear (2:39)
17. It's Strange But True (2:50)
18. Cocktails For Two (2:32)
19. Blue Moon (2:28)
20. When Your Lover Has Gone (2:30)
21. Remember (2:42)
22. Melody Of Love (2:34)

Although little appreciated by jazz critics because of his smoothed-out jump blues and R&B leanings, alto saxophonist Earl Bostic always made sure he had great young players in his groups, and such future jazz notables as John Coltrane, Stanley Turrentine and Jaki Byard all did valuable apprentice work in Bostic bands. Bostic knew how to put food on the table, and his deliberately simple arrangements were perfect for the middle of the road audiences of the day. Bostic also recognized quickly the potential of the LP when it began to emerge in the early 1950s, and his conceptually-themed albums (Earl Bostic Plays Old Standards etc.) took full advantage of the available time and space the medium afforded. This set, the fifth in Classics' chronological survey of Bostic's complete recorded output, covers May 1954 through January 1955, a time when he was still signed to King Records (his contract with King had begun much earlier in 1948). It features the usual assortment of Tin Pan Alley and swing era standards given simplified rearrangements with just enough jump blues oomph to make them danceable. Also here are a couple of smoothed-out mambos ("Mambostic" and "Mambolino") and a pumped up version of Liszt's "Lieberstraum," all of which indicate Bostic's underlying versatility. He knew what he was doing and he knew where the money was, and he also knew with certainty that jazz critics weren't going to pay his bills. As it was, Bostic's work with King functioned as a halfway bridge between the intellectual leanings of jazz and bop and the more commercially viable beat and stomp of R&B, a kind of proto-soul-jazz template done a decade or more before such a thing even had a name. ~Steve Leggett

The Chronological Earl Bostic 1954-1955

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Earl Bostic - Blues & Rhythm Series 5093: The Chronological Earl Bostic 1952-1953

Size: 295 MB
Time: 57:54
File: FLAC
Released: 2004
Styles: Blues, R&B, Jazz
Art: Full

01. You Go To My Head (3:14)
02. The Hour Of Parting (2:27)
03. Smoke Gets In Your Eyes (2:30)
04. For You (2:19)
05. Sheik Of Araby (2:48)
06. Cherokee (3:02)
07. Steram Whistle Jump (3:01)
08. The Song Is Ended (3:01)
09. Melancholy Serenade (2:33)
10. The Very Thought Of You (2:40)
11. Memories (3:01)
12. What, No Pearls? (2:48)
13. Smike Rings (2:58)
14. Deep Purple (2:28)
15. Jungle Drums (2:51)
16. Cracked Ice (2:40)
17. Danube Waves (2:33)
18. Poeme (2:48)
19. My Heart At Thy Sweet Voice (2:42)
20. O Sole Mio (2:28)
21. Off Shore (2:51)

Sultry, swaggering alto saxophonist Earl Bostic had his roots in swing and bop, but was and continues to be closely associated with the popular instrumental Rhythm & Blues sound of the 1950s. In 2004, the Classics label released a fourth volume of vintage Bostic, assembling 25 records he cut for the King label between April 1952 and October 1953. After spending years in the reed sections of bands led by such heavyweights as Lionel Hampton and Hot Lips Page, Bostic started recording under his own name in 1945 and had hit upon a terrifically successful production formula by December 1951 when he was badly injured in an automobile accident that occurred while he was passing through Georgia, and had to spend the next two months recuperating in a hospital. This installment in the Classics Earl Bostic chronology documents his return to professional activity as he and his band picked up where they'd left off by making lots of records while gigging at the Hi Hat in Boston, touring the West Coast, playing the Apollo Theater in Harlem and the Earle Theater in Philly, swinging through the Carolinas, rebounding to Los Angeles and then heading back to Chicago. So much for rest and recuperation! The alto sax & vibe equation was a staple of Bostic's patented '50s sound. One of his key players was trumpeter and vibraphonist Gene Redd; a glance through the rest of the lineup reveals the presence of up-and-coming modern musicians such as trumpeter Tommy Turrentine and his brother, tenor saxophonist Stanley Turrentine, as well as 26-year-old John Coltrane. But the main feature on every one of these tunes is the guy in front with the alto. This collection offers a particularly thrilling slice of full force Bostic performances. He is credited as the composer of "Velvet Sunset" (a sensuous ballad with backing vocals by the Ike Isaacs Trio); "What, No Pearls?" "Cracked Ice," and the "Steamwhistle Jump," an over the top set of variations on a theme clearly recognizable as Billy Strayhorn's "Take the 'A' Train." There is a Billy Eckstine-inspired vocal by one Bill Williams on "The Song Is Ended." Points of extra interest are Bostic adaptations of Camille Saint-Saëns "My Heart at Thy Sweet Voice" from Samson and Delilah and a "Poème" by Czech composer Zdenek Fibich. Bostic could and did play just about anything that appealed to his fancy. Everything he touched became sensual in ways that appealed to the record-buying public -- including, it was noted, white folks throughout the South -- ballads took on a copulative intensity and every tune had the potential to become approachably, accessibly exciting. You expect "Cherokee" to kick a little, but Bostic had a way of making tunes like "Linger Awhile" and "O Sole Mio" sit up and rock. If you want to know what Earl Bostic was all about, go directly to his "Steamwhistle Jump." ~arwulf arwulf

The Chronological Earl Bostic 1952-1953

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Earl Bostic - Blues & Rhythm Series Classics 5039: The Chronological Earl Bostic 1949-51

Size: 195 MB
Time: 68:29
File: FLAC
Released: 2002
Styles: Blues, R&B, Jazz
Art: Full

01. Sugar Hill Blues (2:45)
02. Choppin´ It Down (2:43)
03. Filibuster (2:42)
04. No Name Blues (2:42)
05. Serenade (3:02)
06. Seven Steps (2:39)
07. Portrait Of A Faded Love (2:42)
08. Wrap You Troubles In Dreams (2:45)
09. Way Down Track 9 (2:37)
10. Don´t You Do It (3:00)
11. Merry Widow Waltz (2:37)
12. Wrap It Up (2:55)
13. Rockin´ And Reelin´ (2:44)
14. September Song (3:04)
15. I Can´t Give You Anything But Love (2:53)
16. Flamingo (2:43)
17. Sleep (3:12)
18. How Could It Have Been You And I (3:30)
19. Always (3:00)
20. I´m Gettin´ Sentimental Over You (2:55)
21. The Moon Is Low (2:51)
22. Lover Come Back To Me (2:28)
23. Chains Of Love (3:18)
24. I Got Loaded (2:31)

Back in Cincinnati on August 2, 1949, Earl Bostic cut four dynamite sides for the King label. This session, essentially a sequel to the one that occurred in New York on May 28th (see Classics 5022, the 1948-1949 volume in the Bostic chronology), resulted in music of exceptional warmth and passionate intensity. Lowell "Count" Hastings blew a fine tenor sax, and sitting in at the piano was Ben Webster's brother Rufus. A worthy guitarist is audible on these sides, but no guitar is listed in the enclosed discography. The next step in the Bostic story took him back to New York, where beginning in 1950 trumpeter and vibraphonist Gene Redd would add a special ingredient that came to characterize Bostic's sound for years to come. The mixture of cool vibes and hot alto worked well and sold records. A florid "Serenade" is based on a theme by Franz Schubert and Franz Lehár's Merry Widow gets a run around the block, but most of the tunes are either jazz/pop standards or Bostic originals. After bassist Keter Betts introduces "Wrap Your Troubles in Dreams," the band sings most of the lyrics, always leaving it to Betts to finish the melodic line and eventually polish the whole tune off as a fine feature for plucked upright bass. "Way Down" sounds a lot like a Wynonie Harris jump tune and "Don't You Do It" consists of an incendiary exchange between Bostic's alto and "Count" Hastings' tenor. Jimmy Cobb became Bostic's drummer in January 1951, adding an extra dimension to the band on Earl's smoldering treatment of "The Moon Is Low." The other noteworthy addition to the band at this time was Clyde Terrell, a vocalist who emulated Billy Eckstine on the ballads and tried to cut Joe Turner with "Chains of Love." This segment of the Earl Bostic chronology concludes with Terrell imitating Peppermint Harris as he proudly sings "I got loaded, oh I sure got high!" ~arwulf arwulf

The Chronological Earl Bostic 1949-51

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Earl Bostic - Blues & Rhythm Series Classics 5022: The Chronological Earl Bostic 1948-1949

Size: 161 MB
Time: 60:37
File: FLAC
Released: 2001
Styles: Blues, R&B, Jazz
Art: Full

01. Disc Jockey's Nightmare (2:31)
02. Slightly Groovy (2:53)
03. Bar Fly Baby (2:45)
04. Artistry By Bostic (3:05)
05. Scotch Jam (2:36)
06. Apollo Theater Jump (2:34)
07. Serenade To Beauty (2:38)
08. Tiger Rag (2:41)
09. The Man I Love (2:39)
10. Temptation (2:38)
11. Bostic's Boogie Blues (2:29)
12. Joy Dust (2:50)
13. Wild Man (2:35)
14. Watch Where You Walk, Baby (3:12)
15. Blip Boogie (2:57)
16. From Midnight To Dawn (2:56)
17. Swing Low Sweet Boogie (2:48)
18. Earl's Imagination (2:56)
19. Earl Blows A Fuse (2:47)
20. Nay! Nay! Go Way! (2:34)
21. Who Stuck The Wine In The Gravy (2:50)
22. Earl's Blues (2:33)

Now hear this -- all of Earl Bostic's earliest recordings as a leader are available in chronological succession on the Classics label. This man was a formidable alto saxophone virtuoso, respected by Charlie Parker and revered by John Coltrane. He also wrote arrangements for Gene Krupa, Artie Shaw, Paul Whiteman, and Louis Prima. When Bostic sat in on a Victor recording date with Lionel Hampton in October of 1939 and made 20 hot sides with Hot Lips Page in 1944, 1945, and 1946, he paved the way for his own exciting and lucrative career as a star in what would soon be called the R&B market. The 13-piece big band he assembled for his recording debut as a leader during the last weeks of 1945 included guitarist Tiny Grimes, trumpeter Benny Harris, swing trombonist Benny Morton, clarinetist Eddie Barefield, and both Don Byas and Walter "Foots" Thomas on tenor saxophones. Four titles from this session appeared on the Majestic label. "The Man I Love" begins as a lush ballad, accelerating to a mad pace as Bostic demonstrates his somewhat ferocious dexterity. During the years 1946-1948, Bostic made more than 30 sides for Gotham Records. Each of these bore the company's handsome logo, with a linear big-city skyline pictured on the label. Bostic's octet during 1946 had Tony Scott playing the clarinet and the mighty John Hardee blowing tenor sax, and featured guitar ace Jimmy Shirley. While jazz standards like "Liza" and "Where or When" were always an essential ingredient in Bostic's repertoire, danceable party music based on the blues quickly became his one-way ticket to popularity. "That's the Groovy Thing" and the rowdy "Let's Ball Tonight" were enlivened by call-and-response vocals between the leader and his band. Other voices heard during this part of the chronology are trumpeter Roger Jones -- on ballads he sounds almost like Al Hibbler -- and a fellow calling himself Cousin Joe. Two exquisite instrumentals deserve special mention. The very handsome "Tippin' In," composed by Erskine Hawkins' alto player Bobby Smith, was a huge hit for the Hawkins band in 1945. Bostic's version is superb, and the next phase of this tune's trajectory would be Lou Donaldson's outstanding rendition from the 1960s. "Away," a languid strolling daydream with a rolling boogie bridge, is Bostic's masterpiece -- simple, direct, and ultimately unforgettable. ~arwulf arwulf

The Chronological Earl Bostic 1948-1949

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Earl Bostic - Blues & Rhythm Series Classics 5005: The Chronological Earl Bostic 1945-48

Size: 176 MB
Time: 69:33
File: FLAC
Released: 2001
Styles: Blues, R&B, Jazz
Art: Full

01. The Man I Love (3:16)
02. Hurricane Blues (3:11)
03. The Major And The Minor (2:55)
04. All On (3:14)
05. Liza (3:07)
06. That's The Groovy Thing (Part A) (3:09)
07. Tippin' In (2:32)
08. Baby You Don't Know It All (2:47)
09. Jumpin' Jack (2:46)
10. That's The Groovy Thing (Part B) (3:00)
11. The Barefoot Boy (2:53)
12. That's The Heat You Gotta Beat (2:48)
13. Let's Ball Tonight (Part 1) (2:58)
14. Let's Ball Tonight (Part 2) (2:40)
15. Away (2:56)
16. Where Or When (2:43)
17. Cuttin' Out (3:05)
18. My Special Dream (2:47)
19. I'm The Guy Who Loves You (3:06)
20. Here Goes (3:02)
21. Bostic's Jump (2:39)
22. Earl's Rumboogie (2:39)
23. Hot Sauce Boss (2:33)
24. 845 Stomp (2:33)

Now hear this -- all of Earl Bostic's earliest recordings as a leader are available in chronological succession on the Classics label. This man was a formidable alto saxophone virtuoso, respected by Charlie Parker and revered by John Coltrane. He also wrote arrangements for Gene Krupa, Artie Shaw, Paul Whiteman, and Louis Prima. When Bostic sat in on a Victor recording date with Lionel Hampton in October of 1939 and made 20 hot sides with Hot Lips Page in 1944, 1945, and 1946, he paved the way for his own exciting and lucrative career as a star in what would soon be called the R&B market. The 13-piece big band he assembled for his recording debut as a leader during the last weeks of 1945 included guitarist Tiny Grimes, trumpeter Benny Harris, swing trombonist Benny Morton, clarinetist Eddie Barefield, and both Don Byas and Walter "Foots" Thomas on tenor saxophones. Four titles from this session appeared on the Majestic label. "The Man I Love" begins as a lush ballad, accelerating to a mad pace as Bostic demonstrates his somewhat ferocious dexterity. During the years 1946-1948, Bostic made more than 30 sides for Gotham Records. Each of these bore the company's handsome logo, with a linear big-city skyline pictured on the label. Bostic's octet during 1946 had Tony Scott playing the clarinet and the mighty John Hardee blowing tenor sax, and featured guitar ace Jimmy Shirley. While jazz standards like "Liza" and "Where or When" were always an essential ingredient in Bostic's repertoire, danceable party music based on the blues quickly became his one-way ticket to popularity. "That's the Groovy Thing" and the rowdy "Let's Ball Tonight" were enlivened by call-and-response vocals between the leader and his band. Other voices heard during this part of the chronology are trumpeter Roger Jones -- on ballads he sounds almost like Al Hibbler -- and a fellow calling himself Cousin Joe. Two exquisite instrumentals deserve special mention. The very handsome "Tippin' In," composed by Erskine Hawkins' alto player Bobby Smith, was a huge hit for the Hawkins band in 1945. Bostic's version is superb, and the next phase of this tune's trajectory would be Lou Donaldson's outstanding rendition from the 1960s. "Away," a languid strolling daydream with a rolling boogie bridge, is Bostic's masterpiece -- simple, direct, and ultimately unforgettable. ~arwulf arwulf

The Chronological Earl Bostic 1945-48

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