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| 3.821 Ft
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| 1. | You've Got Me Jumpin'
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| 2. | Darn That Dream
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| 3. | Hollywood Bazaar
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| 4. | They Didn't Believe Me
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| 5. | Nashooma
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| 6. | Vox Bop
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| 7. | Mild and Mellow
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| 8. | Settin' the Pace
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| 9. | Take Me
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| 10. | Be Still My Heart
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| 11. | Manhattan
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| 12. | Blue and Sentimental
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| 13. | You'll Never Know
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| 14. | Tenderly
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| 15. | The Touch of Your Lips
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| 16. | Room with a View
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| 17. | Isn't It Romantic
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| 18. | If I Had You
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| 19. | Just You, Just Me
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| 20. | Crazy She Calls Me
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| 21. | On the Alamo
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| 22. | Early Autumn
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| 23. | Lullaby of Broadway
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| 24. | Harlem Nocturne
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Jazz
John Anderson, Neal Hefti (tp); Billy Byers (tb); Georgie Auld (as, ts); John Rotella (as); Irv Roth (ts); Pete Terry (bs); Jimmy Rowles (p); Joe Mondragon (b); Alvin Stoller (d); Karl Kiffe (bgo). Billy Byers, Gerry Mulligan, Hal Vernon (arr)
Tenorman George Auld was a remarkable jazz musician gifted with a sort of chameleon like personality as a soloist. In every style he played he gave a distinctive tone on the ballads and a vigorous modern style when playing Swing songs. This CD shows two different facets of Auld's work: leading a very rare modern small band session in 1949 pressed by Discovery label and in his more romantic ballad style playing the immortal standards in the early 1950's for Coral.
Tracks #1-4: Georgie Auld Orchestra
John Anderson (tp); Billy Byers (tb); Georgie Auld (as, ts); John Rotella (as); Irv Roth (ts); Pete Terry (bs); Jimmy Rowles (p); Joe Mondragon (b); Alvin Stoller (d); Karl Kiffe (bgo). Billy Byers, Gerry Mulligan, Hal Vernon (arr).
Los Angeles, January 17, 1949
#5-8:
Same but Neal Hefti (tp) and Clint Neagley (as) replace Anderson and Rotella.
Los Angeles, March 21, 1949
#9-10:
Georgie Auld (ts) with poss. Harvey Leonard (p); Curly Russell (b) Tiny Kahn (d).
New York, March 30, 1951
#11-13:
Georgie Auld (ts); Arnold Ross (p); Barry Breen (b); Sammy Weiss (d); Lou Singer (vib); Jud Conlon Rhythmaires: Jud Conlon, Gloria Wood, Loulie Jean Norman, Charles Parlato, Mack McLean (vcl on 11).
Los Angeles, November 12, 1951
#14-15:
Same but Mike Rubin (b) replaces Breen.
Los Angeles, January 10, 1952
#16-18:
Georgie Auld (ts); Milt Raskin (p); Mike Rubin (b) Frank Carlson (d) Frank Flynn (vib); Jud Conlon Rhythmaires (vcl on 16).
Los Angeles, March 26, 1952
#19-21:
Georgie Auld (ts); Donn Trenner (p); Red Callender (b); Alvin Stoller (d); Larry Bunker (vib); Jud Conlon Rhythmaires (vcl).
Los Angeles, May 9, 1952
#22-24:
Same but Phil Stephens (b) replaces Callender.
Los Angeles, September 2, 1952
This delightful compilation presents a series of recordings made by saxophonist Georgie Auld for Discovery Records in January and March 1949, followed by the material he recorded for the Coral label between March and September 1952. The group used on the Discovery dates was a ten-piece bop band; the producers at Coral were obviously looking for something less adventuresome that would appeal to a wide and more pop-oriented record-buying public. For this reason "Manhattan," "Room with a View," and tracks 19 through 24 are coated with carefully arranged vocals by Jud Conlon's Rhythmaires, a rather Codeine flavored mixed-gender quintet that specialized in oozy harmonies. Compared to some other attempts at group vocal accompaniment perpetrated during the '50s, these tracks are relatively tolerable, even "Lullaby of Broadway" with its raucous group scat and raunchy screams behind Auld's gutbucket sax. Aside from this momentary bit of rowdiness, most of the Coral recordings of Georgie Auld are languid lounge music, perfect for lying around with nothing on.
---arwulf arwulf, All Music Guide
Georgie Auld
Active Decades: '40s, '50s, '60s and '70s
Born: May 19, 1919 in Toronto, Ontario, Canada
Died: Jan 08, 1990 in Palm Springs, CA
Genre: Jazz
Styles: Big Band, Bop, Swing
Georgie Auld had a long and varied career, changing his tenor sound gradually with the times and adapting to many different musical situations. He moved from Canada to the U.S. in the late '20s and, although originally an altoist, he switched to tenor after hearing Coleman Hawkins. While with Bunny Berigan during 1937-1938, Auld sounded like a dead ringer for Charlie Barnet. After spending a year with Artie Shaw in 1939 (including leading the band briefly after Shaw ran away to Mexico), Auld sounded much closer to Lester Young when he joined Benny Goodman. With B.G., Auld was a major asset, jamming with a version of Goodman's Sextet that also included Cootie Williams and Charlie Christian. He was back with Shaw in 1942, and then led his own big band (1943-1946), an excellent transitional unit between swing and bop that at various times included such young modernists as Dizzy Gillespie, Erroll Garner, and Freddie Webster; Sarah Vaughan also guested on a couple of his recordings. After the band's breakup, Auld led some smaller groups that tended to be bop-oriented. He was with Count Basie's octet in 1950 and then freelanced for the remainder of his career, maintaining a lower profile but traveling frequently overseas and not losing his enthusiasm for jazz. Some may remember that, in 1977, he had a small acting role as a bandleader and played Robert De Niro's tenor solos in the otherwise forgettable Liza Minelli movie New York, New York.
---Scott Yanow, All Music Guide |
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