Without doubt, Georgie Auld's warm and emotional style has contributed to enlarge list of those horn players with unswerving rocking spirit.Ġ1. His virile and communicative sax in the solo spots, his bubbling humor and his big, wholesome sound were his basic appeal. This collection pays homage to this long-underrated tenor saxophonist.
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. After the band's breakup, Auld led some smaller groups that tended to be bop-oriented. 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. With B.G., Auld was a major asset, jamming with a version of Goodman's Sextet that also included Cootie Williams and Charlie Christian. 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. While with Bunny Berigan during 1937-1938, Auld sounded like a dead ringer for Charlie Barnet. in the late '20s and, although originally an altoist, he switched to tenor after hearing Coleman Hawkins. Georgie Auld had a long and varied career, changing his tenor sound gradually with the times and adapting to many different musical situations.
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