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2 x CD |
| 5.945 Ft
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| 1. CD tartalma: |
| 1. | Airmail Special
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| 2. | Airmail Special
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| 3. | Be My Love
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| 4. | Taps Miller
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| 5. | What's New
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| 6. | You Made Me Love You
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| 7. | Out of Nowhere
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| 8. | Seh! Seh!
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| 9. | Seh! Seh!
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| 10. | The Things We Did Last Summer
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| 11. | I Found a New Baby
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| 12. | A Smooth One
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| 13. | On the Alamo
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| 14. | Seven Come Eleven
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| 15. | Wholly Cats
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| 16. | Scarecrow
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| 17. | Benny's Bugle
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| 18. | Rose Room
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| 19. | Airmail Special
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| 20. | Sweet Lorraine
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| 21. | Soft Winds
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| 22. | Flying Home
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| 2. CD tartalma: |
| 1. | It's a Good Day
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| 2. | You're Faded
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| 3. | Taking a Chance on Love
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| 4. | I'm Shooting High
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| 5. | Seven Come Eleven
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| 6. | You are my Lucky Star
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| 7. | Taps Miller
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| 8. | What's New
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| 9. | Out of Nowhere
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| 10. | I Found a Million Dollar Baby in a Five and Ten Cent Store
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| 11. | That Old Feeling
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| 12. | Everything Happens to Me
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| 13. | Learnin' the Blues
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| 14. | One for my Baby
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| 15. | Here's To The Losers
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| 16. | In The Wee Small Hours
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| 17. | Drinking Again
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| 18. | For Losers and Boozers
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| 19. | Blue and Sentimental
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Jazz
CD-1
Tracks 1-10: Recorded: NYC, January 1951
Georgie Auld Quintet: Frank Rosolino (tb), Georgie Auld (ts), Lou Levy (p), Max Bennett (b), Tiny Kahn (d,vcls)
Tracks 11-22: Recorded: Hollywood, September 1959
Georgie Auld Septet: Don Fagerquist (tp), Georgie Auld (ts), Lou Levy (p), Larry Bunker (vb), Howard Roberts (g), Leroy Vinnegar (b), Mel Lewis (d)
CD-2
Tracks 1-10: Recorded: Hollywood, April 1963
Georgie Auld Quintet: Frank Rosolino (tb), Georgie Auld (ts), Lou Levy (p), Leroy Vinnegar (b), Mel Lewis (d)
Tracks 11-19: Recorded: Hollywood, July 1963
Georgie Auld Quintet: Georgie Auld (ts), Larry Bunber (vb), Johnny Gray (g), Leroy Vinnegar (b), Mel Lewis (d)
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.
This CD pays homage to this long-underrated tenor saxophonist. Georgie Auld was a unique jazzman. His virile and communicative sax in the solo spots, his bubbling humor and his big, wholesome sound were his basic appeal. Without doubt, Georgie Auld's warm and emotional style has contributed to enlarge list of those horn players with unswerving rocking spirit. |
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