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If you tike an exciting sax technique, you'll like Bostic. Since making a solid hit with his two most recent albums* “BOSTIC SHOWCASE” and “‘BOSTIC ROCKS,” Earl has sur- passed even what his most ardent fans expect with the numbers in this album.

From driving, pulsating, torrid passages, Bostic turns to delicate, soulful styling with imagination and _ flexibility. Here are twelve numbers especially recorded for this album. The songs were chosen by Bostic, arranged by Bostic and recorded to fit the Bostic style.

Backing ‘‘The Man” are. Fletcher Smith, piano; Margo Gibson, bass; Charles Walton, drums; Allan Seltzer, guitar; Gene Redd, vibes. As most Bostic fans know, Earl doubles on alto and tenor saxes, and also plays clarinet and flute. This flexibility allows arrangements for his combo which, ordinarily, wouldn’t be attempted.

For those who are meeting Ear! Bostic for the first time, we'd like to give a brief resume of the reasons he is one of the most popular and respected musicians in the band business today.

Born in Tulsa, Oklahoma, he became interested in music when a friend showed him a few notes

SIDE 1

TWILIGHT TIME STAIRWAY TO THE STARS ROCKIN’ WITH RICHARD BE MY LOVE PINKIE GOODNIGHT SWEETHEART

SIDE 2

OVER THE WAVES ROCK

JER-ON-IMO

C JAM BLUES

WEE-GEE BOARD

THE WRECKING ROCK

HOME SWEET HOME ROCK

OTHER KING LONG PLAYING ALBUMS YOU

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E 97—THE BOGGETT BEAT 558—C’MON WITH EARL BOSTIC

47—INVITATION TO DANCE Earl Bostic | FOR DANCING PFET

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is A HIGH FIDELITY RECORDING

on the clarinet. He joined the high school band at Booker T. Wa shington | High Scheol and started what was to become a tabulous musical career. After attending Creighton Univer- sity in Omaha, Ear! went to Xavier University in New Orleans where he graduated with an AB degree. After his first trials and failures, he. finally gained -the “certain something” which

é distinguishes the good musicians. Earl played wth Don Red- man, Cab Calloway and Lione! Hampton. He worked with Lena Horne and arranged for Paul Whiteman when he was on the Chesterfield Hour. Other bands, such as Jack Tea- garden and Louis Prima used his arranging talents for seven years. Then Earl made his first recording in 1942 with Lionel Hampton's Sextet. Earl played with Red Allen, J. C. Higginbotham, Sid Catlett, Teddy Wilson and Hamp to enter the recording field. The first record he made under his own name was a national hit, ‘That's The Groovy Thing.”’

The most interesting fact about Earl’s career is the fact that most of his musical knowledge was taught to him by a nun at Xavier University, and that he composed hits for others such as “‘Let Me Off Uptown” for Gene Krupa, ‘‘The Major And The Moar for. Alvino Ray and ‘‘Brooklyn Boogie”’ for Louis Prima.

Alto Magic In*Hi. a potfers the best of Bostic to Gate. These twelve numbers are csPneie recorded for Bastic fans

throughout the world .. . to satisfy the demand for more and more of Bostic. :

Play any band . . . test the Bostic style to your feel for modern, pleasurable dancing and listening

wishes. You’ll find that Bostic can satisfy every wish . . . every demand. This is more than

combo music ... . this is complete fulfill- ment of either the collector or the dis- coverer. Bostic is the ultimate in sax

styling and will satisfy the highest demands of the music buyer.

If you’re the usual musical purchaser, you want music that will last for years to come, and not be passe months from now. With Bostic you make a sound investment. His styling, his mu- sic will remain if the top ranks as long as you wish to play it. You have bought a fine artist.

RECORD DESIGN STUDIO

e PHOTO/EVERETT FERNANDEZ, JR.

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561—JAZZ GOES IVY LEAGUE Johnnie Pate Trio Plus Three

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571—BOSTIC ROCKS

Hits From The Swing Age

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