Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 59:53
Size: 139,8 MB
Art: Front
(2:58) 1. You're Blase (vocal Sarah Vaughan)
(2:55) 2. A Hundred Years From Today (vocal Sarah Vaughan)
(3:11) 3. In The Middle
(3:16) 4. Stormy Weather (vocal Lynn Stevens)
(2:54) 5. I'll Never Be The Same
(3:07) 6. Stompin' At The Savoy
(2:47) 7. It Had To Be You (vocal Lynn Stevens)
(2:59) 8. I Don't Know Why (vocal Georgie Auld)
(2:58) 9. Air Mail Special
(3:15) 10. Here Comes Heaven Again (vocal Lynn Stevens)
(2:39) 11. Come To Baby Do (vocal Lynn Stevens)
(2:50) 12. Daily Double
(2:59) 13. You Haven't Changed At All (vocal Lynn Stevens)
(2:44) 14. Route 66 (vocal Georgie Auld)
(2:55) 15. Blue Moon
(3:17) 16. Time On My Hands (vocal Lynn Stevens)
(3:01) 17. Sweetheart Of All My Dreams (vocal Patti Powers)
(2:55) 18. Canyon Passage
(3:13) 19. Just A Sittin' & A Rockin' (vocal Lynn Stevens)
(2:50) 20. Georgie Porgie
In The Middle
Year: 1988
File: MP3@320K/s
Time: 59:53
Size: 139,8 MB
Art: Front
(2:58) 1. You're Blase (vocal Sarah Vaughan)
(2:55) 2. A Hundred Years From Today (vocal Sarah Vaughan)
(3:11) 3. In The Middle
(3:16) 4. Stormy Weather (vocal Lynn Stevens)
(2:54) 5. I'll Never Be The Same
(3:07) 6. Stompin' At The Savoy
(2:47) 7. It Had To Be You (vocal Lynn Stevens)
(2:59) 8. I Don't Know Why (vocal Georgie Auld)
(2:58) 9. Air Mail Special
(3:15) 10. Here Comes Heaven Again (vocal Lynn Stevens)
(2:39) 11. Come To Baby Do (vocal Lynn Stevens)
(2:50) 12. Daily Double
(2:59) 13. You Haven't Changed At All (vocal Lynn Stevens)
(2:44) 14. Route 66 (vocal Georgie Auld)
(2:55) 15. Blue Moon
(3:17) 16. Time On My Hands (vocal Lynn Stevens)
(3:01) 17. Sweetheart Of All My Dreams (vocal Patti Powers)
(2:55) 18. Canyon Passage
(3:13) 19. Just A Sittin' & A Rockin' (vocal Lynn Stevens)
(2:50) 20. Georgie Porgie
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. https://itunes.apple.com/us/artist/georgie-auld-and-his-orchestra/56727532
In The Middle
