domingo, 16 de junho de 2013

Georgie Auld & His Orchestra - Swingin' in the Land of Hi-Fi

  1. In the Land of Hi-Fi
  2. For You
  3. Until the Real Thing Come Along
  4. Tippin' In
  5. Sunday Kind of Love
  6. I May Be Wrong
  7. Swingin' in Moore Park
  8. If I Loved You
  9. Dinah
  10. They Can't Take That Away from Me
  11. My Blue Heaven
  12. Love Is Just Around the Corner
  13. Back Home Again in Indiana
  14. Blue Lou
  15. Too Marvelous for Words
  16. Sweet Sue
  17. Laura
  18. I Get A Kick out of You
  19. Rosetta
  20. Sweet Lorraine
  21. Old Rockin' Chair
  22. Got A Date with An Angel
  23. Prisoner's Song
  24. Frankie and Johnny
Swingin' in the Land

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.

(By Scott Yanow from

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