Title: Earl Bostic - Flamingo
Description: Here's a song from the cd - "Old King Gold Volume 1"

Title: EARL BOSTIC - EMBRACEABLE YOU
Description: EMBRACEABLE YOU - Earl Bostic Embrace me, my sweet embraceable you Embrace me, you irreplaceable you Just one look at you My heart grew tipsy in me You and you alone Bring out the gypsy in me I love all the many charms about you Above all, I want these arms about you Dont be a naughty baby Come to papa, come to papa do My sweet embraceable you I love all the many charms about you Above all, I want my arms about you So dont you be, a naughty baby Come to papa do My sweet embraceable you Earl Bostic and his orchestra. A '78' from the 1950s. Earl Bostic (April 25, 1913 -- October 28, 1965) was an American jazz and rhythm and blues alto saxophonist. Bostic was born in Tulsa, Oklahoma. He turned professional at age 18 when he joined Terrence Holder's band. 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. "Embraceable You" is a popular song, with music by George Gershwin and lyrics by Ira Gershwin. The song was originally written in 1928 for an unpublished operetta named East is West. It was eventually published in 1930 and included in the Broadway musical Girl Crazy. where it was performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire. Billie Holiday's 1944 recording is among her most moving performances

Title: Earl Bostic: Danube Waves on 78rpm
Description: Earl Bostic, John Coltrane's heroe made this fantastic music, enjoy!

Title: EARL BOSTIC - NIGHT & DAY
Description: NIGHT & DAY Earl Bostic and his orchestra. A '78' from the 1950s. Earl Bostic (April 25, 1913 -- October 28, 1965) was an American jazz and rhythm and blues alto saxophonist. Bostic was born in Tulsa, Oklahoma. He turned professional at age 18 when he joined Terrence Holder's band. 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. Words & Music by Cole Porter Like the beat beat beat of the tom-tom When the jungle shadows fall Like the tick tick tock of the stately clock As it stands against the wall Like the drip drip drip of the raindrops When the summer shower is through So a voice within me keeps repeating you, you, you Night and day, you are the one Only you beneath the moon or under the sun Whether near to me, or far Its no matter darling where you are I think of you Day and night, night and day, why is it so That this longing for you follows wherever I go In the roaring traffics boom In the silence of my lonely room I think of you Day and night, night and day Under the hide of me Theres an oh such a hungry yearning burning inside of me And this torment wont be through Until you let me spend my life making love to you Day and night, night and day The randomly selected pictures are from a visit to the Middleton Railway, Leeds.

Title: Greatest Rock Instrumental - Earl Bostic - Flamingo
Description: http://www.siavashian.blogspot.com

Title: ERNIE FREEMAN-NOW & THEN THERES A FOOL SUCH AS I
Description: Ernie Freeman (born 16 August 1922, Cleveland, Ohio - died 16 May 1981, Hawaii[1]) was an American pianist and arranger. In 1935 he began playing in local Cleveland area nightclubs, and also formed a classical music trio for local social functions with his father and his sister Evelyn. Around 1939, he and Evelyn formed a new band, The Evelyn Freeman Swing Band, with fellow teenagers from Cleveland Central High School. Evelyn played piano, while Ernie played saxophone and also began writing arrangements for the band. The band began a regular engagement at the Circle Ballroom in Cleveland, and broadcast shows for WHK radio station. In 1942, most of the band, apart from Evelyn, joined the US Navy together, and became the first all-black Navy Band, called "The Gobs Of Swing", with Ernie as its leader.[2] After leaving the Navy in 1945 Ernie entered the Cleveland Institute of Music and then moved to New York City. After a spell as arranger for Woody Herman he joined the Ernie Fields Orchestra, playing the piano. Other members of the band included saxophonists Earl Bostic and Plas Johnson, guitarist René Hall, and drummer Earl Palmer. In 1951 Freeman also began playing with the Billy Hadnott Sextet, but left in 1954 to form his own combo with Johnson, Palmer and guitarist Irving Ashby. In 1955 they released their first record, "No No Baby" on the Middle-Tone label. They also recorded with a vocal group, The Voices, who included Bobby Byrd and Earl Nelson of The Hollywood Flames (and later Bob & Earl).[2] Freeman played on numerous early rock and R&B sessions in Los Angeles, California in the 1950s, particularly on the Specialty, Modern, and Aladdin labels, as well as for white artists such as Duane Eddy and Bobby Vee. He played piano on The Platters' "The Great Pretender" in 1955, and began releasing a number of instrumental records of his own. These included "Jivin' Around" (#5 on the R&B chart in 1956), and his cover version of Bill Justis' "Raunchy", his biggest solo success, which reached #4 on the pop chart and #1 on the R&B chart in 1957. In 1958 The Ernie Fields Orchestra, including Freeman, became the house band for the newly formed Rendezvous record label. In 1961, with Palmer, Johnson and René Hall, they began recording as B. Bumble and the Stingers, and Freeman played piano on their first hit, "Bumble Boogie" (but not their later hit, "Nut Rocker"). He also performed with and arranged for The Routers and their parallel group The Marketts.[2] He continued a successful session career in the 1960s, appearing on material by Frank Sinatra ("Strangers in the Night", Grammy Award in 1967), Connie Francis ("Jealous Heart", "Addio, mi' amore"), Dean Martin, and Petula Clark ("This is My Song", "For Love"), and becoming musical director with Reprise Records. In 1970 he contributed string arrangements to Simon and Garfunkel's Bridge Over Troubled Water album, before his retirement later in the decade. He died in 1981.[2]

Title: Jeff & Mack - Shag with Lacey, Shad, Jo Jo
Description: In 91 we got to interview so many legends and Hall of Famers. Here Lacey Moore leads us to Shad & Brenda Alberty moving to Earl Bostic & then Jo Jo Putnam and Joanne Johnson work out to Little Esther with Billy Ward & The Dominoes "Deacon Moves In" Pure Juke Joint R&B's

Title: JUNIOR WALKER & THE ALL STARS - What Does It Take - EXTENDED
Description: "WHAT DOES IT TAKE" - Released 1969. JUNIOR WALKER & THE ALL STARS ... Junior Walker, born Autry DeWalt II a.k.a. Autry De Walt Mixon, 14th June 1931, Blythesville, Arkansas, U.S.A. - died 23rd November 1995, Battle Creek, Michigan, U.S.A. Some accounts list his birth name as Oscar G. Mixon. Junior Walker took up the saxophone, inspired by the Blues and R & B bands he had heard in the early 50's, especially Louis Jordan, Earl Bostic, and Illinois Jacquet. He grew up in South Bend, Indiana, and began playing the saxophone in high school. Junior was soon performing in local Jazz and R & B clubs with his first band, the Jumping Jacks. It was at this juncture that he changed his stage name to Junior Walker, which was a childhood nickname. Junior joined a trio led by drummer Billy 'Stix' Nicks, which also featured organist Fred Patton and vocalist and guitarist Willie Woods (b. 5th September 1936. d. 27th May 1997 from lung cancer). The trio played around Northern Indiana and Southern Michigan. Junior then took over the group after Billy joined the Army in the late '50's. He relocated to Battle Creek, Michigan, and formed the group Junior Walker & the All-Stars. The group featured Patton, Woods, and drummer Tony Washington. Fred Patton was later replaced by Victor Thomas, and Tony Washington by Jack Douglas and, later, James Graves (d. 1967, drums). The group then took up a residency in Battle Creek's El Grotto club. By 1961 the group had achieved a prominent local reputation. There they were discovered by the late Johnny Bristol, who recommended them to his friend, ex-Moonglow Harvey Fuqua. Signed, subsequently, to the Harvey label in 1961, they made their first recordings in 1962. Harvey Fuqua's labels then became part of the Motown stable during 1964. In 1965, Junior released the single 'Shotgun' (a song that Junior sang on by default, as the original singer didn't show up for the recording), which was followed by hits such as 'Shake And Fingerpop' 'How Sweet It Is (To Be Loved by You)' and 'Road Runner'. 'Shotgun' topped the R & B charts and reached the pop charts in the Top Five. In 1969, Junior had reached the peak of his career with the U.S. Top 5 hit, 'What Does It Take To Win Your Love'. From 1972 onwards the All-Stars recorded only sporadically. 'Hot Shot' in 1976, produced by Brian Holland, indicated an attempt to reach into the Disco market Two albums followed that year, his first recordings as a solo artist. In 1979, he relocated to Whitfield Records. In 1981, Junior recorded a guest solo performance on Foreigner's Top Five hit 'Urgent.' Junior returned to Motown in 1983, releasing 'Blow The House Down', which featured the mid-tempo 'Closer Than Close', his version of the Foreigner song 'Urgent' along with his take on the Willie Hutch song, 'In And Out'. He continued to tour through the '80's and '90's, sometimes including his son, in his performances, Autry DeWalt III playing drums. Junior Walker lost a two-year battle with cancer on Thursday the 23rd of November 1995. In his latter days, Junior had problems walking as a result of the disease, reports stated. Billy 'Stix' Nicks continued to tour with a version of the All-Stars after Junior's passing. Junior's final resting place is Oak Hill Cemetery, Battle Creek, Michigan, U.S.A.

Title: Harlem Nocturne - Jazz Piano
Description: visit my webpage - http://www.joolsscott.co.uk "Harlem Nocturne" 1940. Music by Earle Hagen. Hagen wrote "Harlem Nocturne" for a radio series as a conscious imitation of the Duke Ellington sound. Randy Brooks, a white big band leader, picked it up as his theme song in 1941. About ten years later, saxophonist Herbie Fields, released it as a single, soon after, virtually every sax player in the R & B business had his own version of it out. You can download my most recent 10 track piano album for $4 at http://payloadz.com/go/sip?id=467446 Sax-heavy honky-tonk R & B was beginning to fade at the time, but the smooth, sultry sound of "Harlem Nocturne" made it a good transition into the more sophisticated jump bands. Johnny Otis, a white vibe player who considered himself "black in soul" covered it for one of his early hits on Savoy. (Otis was later to keep the spirit of R & B going for many years with his various bands and LA radio shows). Finally, in 1959, a New Jersey band, the Viscounts, had a minor hit with it, introducing an eerie guitar effect that's been retained in most of the subsequent covers. Peter Appleyard, Per-cus-sive Jazz Doctored for Super Stereo, Ernestine Anderson, Fascinating Ernestine, Mercury Georgie Auld, Manhattan with Strings, United Artists Sil Austin, Great Sax, Sun CD Sid Bass, Big Piano, Big Band, Big Sound, Capitol Earl Bostic, All His Hits, King Chuck Brown and the Soul Searchers, Any Way You Want to Go Clebanoff Strings, Strings Afire, Mercury Spencer Collingswood, Cool Sounds!, Hollywood Records King Curtis, Night Train, Prestige Martin Denny, Another Taste of Honey, Liberty Lou Donaldson, Play the Right Thing, Milestone Les Elgart, For Dancers Only, Columbia Les and Larry Elgart, The New Elgart Touch, Columbia Juan Garcia Esquivel, Infinity in Sound, RCA Victor Bob Freedman and Orch., Music To Strip By, Surprise Records Danny Gatton, Cruising Deuces Marty Gold and his Orchestra, Soundpower!, RCA Victor Joe Harnell, Hud, Kapp Joe Harnell, Naked City: the Sound of Midnight, Medallion Ted Heath, Big Band Bash, London Phase 4 Illinois Jacquet, Swing's the Thing, Verve Quincy Jones, Got a Brand New Bag, Mercury Wayne King, Dream a Little Dream of Me, Decca Herbie Mann, Latin Fever, Atlantic Mantovani, Manhattan, London PS Art Martin Quartet, Harlem Nocturne, AMR Records Robert Maxwell, A Crowning Performance, Command Robert Maxwell, Harpistry in Motion, Command Leon Merian, The Magic Horn, Decca Jerry Murad's Harmonicats, The Cat's Meow, Mercury The Naughty Ones, I Dig Your Voodoo, 101 Strings, Strings After Dark, 101 Strings, Swingin' Things, Paul Phillips (Joe Harnell) & his Orchestra , Naked City: The Sound of Midnight, Tito Puente, Tito Puente & Buddy Morrow: Revolving Bandstand, Boots Randolph, Hip Boots, Monument Willie Restum, At the Dream Lounge, The Rumblers, Boss Spies Who Surf, Calling All Martians Sam "The Man" Taylor, Blue Mist, MGM Jim Tyler and Orchestra, Impact! Brass, Time Various Artists, Stereo & All That Jazz, Audio Fidelity The Ventures, The Ventures, Dolton The Viscounts, Bell Marty Wilson, Jun'gala Jools Scott is a composer & pianist for hire, based in Bath (southwest UK). Jools is the perfect entertainment for an elegant wedding/party/event, with other 10 years experience as an entertainer. His piano music is exquisite, delivered with panache and passion. Jools' compositions have been performed in a variety of venues, including The Royal Albert Hall, St Paul's Cathedral, The Purcell Room, Well's Cathedral School and The O2 (London) as part of the 2007 Technics DMC World Championships

Title: Uptown RHYTHM KINGS OoWOW*swing jump boogie blues drums
Description: Strong set opener, even if very few people in 1988 had heard of jump blues, but ...WOW, it got the idea of "jumpin'" out there right away. Buddy Johnson / Jay McShann / Tiny Bradshaw fans might like this one and of course, rhythm and blues saxophone ' honkers ', vocal = shouters included too. tymjar

Title: Junior Walker and The All Stars - Road Runner
Description: Motown's skilled but mostly anonymous instrumentalists very rarely stepped out on their own. The lone exception to the rule was tenor saxman Junior Walker, whose rough-and-ready, old-school R&B was a marked contrast with the label's typically smooth, polished product. Walker's squealing gutbucket style was inspired by jump blues and early R&B, particularly players like Louis Jordan, Earl Bostic, and Illinois Jacquet. Possessed of a raspy, untrained voice, Walker's singing nonetheless complemented the energy of his sax playing, and he cut a wealth of danceable, party hearty R&B for Motown during his heyday in the second half of the '60s. Walker was born Autry DeWalt II on June 14, 1931 (even though Motown gave his birth date as 1942), in Blytheville, AR. (Some accounts list his birth name as Oscar G. Mixon, which was then changed at some point during his early childhood.) DeWalt grew up in South Bend, IN, and began playing the saxophone in high school; he was soon performing in local jazz and R&B clubs with his first band, the Jumping Jacks, under the name Junior Walker. He next joined a trio led by drummer Billy "Stix" Nicks, which also featured organist Fred Patton; they soon added backing vocalist and guitarist Willie Woods, and played around northern Indiana and southern Michigan. Walker took over the group after Nicks joined the Army; in the late '50s, he relocated to Battle Creek, MI, and formed a band billed as Junior Walker & the All-Stars. Initially, they featured Patton, Woods, and drummer Tony Washington; Patton was later replaced by Victor Thomas, and Washington by Jack Douglas and, finally, James Graves. The All-Stars continued to play around the area, and took up a residency in Battle Creek's El Grotto club. There they were discovered by singer Johnny Bristol, who recommended them to his friend, ex-Moonglow Harvey Fuqua. Fuqua signed the group to his Harvey label in 1961; they made their first recordings in 1962, and the following year Fuqua's labels were absorbed by Motown. Walker & the All-Stars ended up on their Soul subsidiary, debuting for the label in 1964. In early 1965, they scored their first big hit with the dance tune "Shotgun," which marked Walker's vocal debut; in fact, the only reason he sang the song was that the vocalist he'd hired didn't show up for the session, and he was somewhat flabbergasted by the label's decision to leave his vocal intact. Berry Gordy's instincts proved right, however, when "Shotgun" topped the R&B charts and hit the pop Top Five. A steady stream of mostly instrumental R&B chart hits followed, including "Do the Boomerang," "Shake and Fingerpop," and "How Sweet It Is (To Be Loved by You)" (Walker was, naturally, encouraged to record instrumental versions of Motown hits). In 1966, Graves left and was replaced by old cohort Billy "Stix" Nicks, and Walker's hits continued apace with tunes like "I'm a Road Runner" and "Pucker Up Buttercup." Toward the end of the '60s, seeking to diversify their approach, the All-Stars began recording more ballad material, complete with string arrangements and Walker vocals. That approach resulted in the group's second Top Five pop hit, the R&B number one "What Does It Take (To Win Your Love)," which helped refuel Walker's career. He landed several more R&B Top Ten hits over the next few years, with the last coming in 1972. Walker resurfaced as a solo artist during the disco era, working with producer Brian Holland beginning in 1976 with the single "Hot Shot"; a pair of albums followed. In 1979, Walker joined up with another former Motown mainstay in 1979, signing with producer Norman Whitfield's Whitfield label, though without much success. Walker returned to the spotlight in 1981 with a well-publicized (and well-executed) guest solo on Foreigner's Top Five hit "Urgent." Two years later, he re-signed with Motown and recorded Blow the House Down; by that time, his melodic style was being absorbed into a new generation of R&B-flavored jazz instrumentalists. Walker continued to tour through the '80s and '90s, sometimes with his son Autry DeWalt III playing drums. Unfortunately, in 1993 his activities were severely curtailed by cancer, which claimed his life on November 23, 1995. In the wake of his death, Billy "Stix" Nicks continued to tour with a version of the All-Stars. ~ Steve Huey, All Music Guide

Title: Junior Walker & The All Stars - Shotgun
Description: Motown's skilled but mostly anonymous instrumentalists very rarely stepped out on their own. The lone exception to the rule was tenor saxman Junior Walker, whose rough-and-ready, old-school R&B was a marked contrast with the label's typically smooth, polished product. Walker's squealing gutbucket style was inspired by jump blues and early R&B, particularly players like Louis Jordan, Earl Bostic, and Illinois Jacquet. Possessed of a raspy, untrained voice, Walker's singing nonetheless complemented the energy of his sax playing, and he cut a wealth of danceable, party hearty R&B for Motown during his heyday in the second half of the '60s. Walker was born Autry DeWalt II on June 14, 1931 (even though Motown gave his birth date as 1942), in Blytheville, AR. (Some accounts list his birth name as Oscar G. Mixon, which was then changed at some point during his early childhood.) DeWalt grew up in South Bend, IN, and began playing the saxophone in high school; he was soon performing in local jazz and R&B clubs with his first band, the Jumping Jacks, under the name Junior Walker. He next joined a trio led by drummer Billy "Stix" Nicks, which also featured organist Fred Patton; they soon added backing vocalist and guitarist Willie Woods, and played around northern Indiana and southern Michigan. Walker took over the group after Nicks joined the Army; in the late '50s, he relocated to Battle Creek, MI, and formed a band billed as Junior Walker & the All-Stars. Initially, they featured Patton, Woods, and drummer Tony Washington; Patton was later replaced by Victor Thomas, and Washington by Jack Douglas and, finally, James Graves. The All-Stars continued to play around the area, and took up a residency in Battle Creek's El Grotto club. There they were discovered by singer Johnny Bristol, who recommended them to his friend, ex-Moonglow Harvey Fuqua. Fuqua signed the group to his Harvey label in 1961; they made their first recordings in 1962, and the following year Fuqua's labels were absorbed by Motown. Walker & the All-Stars ended up on their Soul subsidiary, debuting for the label in 1964. In early 1965, they scored their first big hit with the dance tune "Shotgun," which marked Walker's vocal debut; in fact, the only reason he sang the song was that the vocalist he'd hired didn't show up for the session, and he was somewhat flabbergasted by the label's decision to leave his vocal intact. Berry Gordy's instincts proved right, however, when "Shotgun" topped the R&B charts and hit the pop Top Five. A steady stream of mostly instrumental R&B chart hits followed, including "Do the Boomerang," "Shake and Fingerpop," and "How Sweet It Is (To Be Loved by You)" (Walker was, naturally, encouraged to record instrumental versions of Motown hits). In 1966, Graves left and was replaced by old cohort Billy "Stix" Nicks, and Walker's hits continued apace with tunes like "I'm a Road Runner" and "Pucker Up Buttercup." Toward the end of the '60s, seeking to diversify their approach, the All-Stars began recording more ballad material, complete with string arrangements and Walker vocals. That approach resulted in the group's second Top Five pop hit, the R&B number one "What Does It Take (To Win Your Love)," which helped refuel Walker's career. He landed several more R&B Top Ten hits over the next few years, with the last coming in 1972. Walker resurfaced as a solo artist during the disco era, working with producer Brian Holland beginning in 1976 with the single "Hot Shot"; a pair of albums followed. In 1979, Walker joined up with another former Motown mainstay in 1979, signing with producer Norman Whitfield's Whitfield label, though without much success. Walker returned to the spotlight in 1981 with a well-publicized (and well-executed) guest solo on Foreigner's Top Five hit "Urgent." Two years later, he re-signed with Motown and recorded Blow the House Down; by that time, his melodic style was being absorbed into a new generation of R&B-flavored jazz instrumentalists. Walker continued to tour through the '80s and '90s, sometimes with his son Autry DeWalt III playing drums. Unfortunately, in 1993 his activities were severely curtailed by cancer, which claimed his life on November 23, 1995. In the wake of his death, Billy "Stix" Nicks continued to tour with a version of the All-Stars. ~ Steve Huey, All Music Guide

Title: Jeff O' Blows his Wild Horn! - O Sole Mio
Description: TheOneManJamSession! http://jeffo.biz - Jeff O' Corbett (BMI) performing his famous version of the Italian standard "O Sole Mio" on his Honkin' tenor saxophone. Jeff O's Retro Music 50's Songs You Never Heard! New Original Doo Wop, 50's Rock & Rockabilly songs. http://www.jeffosretromusic.com

Title: All Of Me - Cover
Description: Composed by Gerald Marks Notable performances by Louis Armstrong, Mildred Bailey, Count Basie, Sidney Bechet, Earl Bostic, Duke Ellington, Ella Fitzgerald, Benny Goodman, Lee Konitz, Billie Holiday, Harry James, Gene Krupa, Red Norvo, Oscar Peterson, Frank Sinatra, Sonny Stitt, Lester Young, Harri Stojka, Helga Sven, Touching Moods, Willie Nelson and Michael Bublé