1 Blue and Sentimental		00:04:19 
2 For Losers and Boozers	00:04:13 
3 Drinking Again	00:03:24 
4 In the Wee Small Hours	00:03:34 
5 Here's to the Losers	00:03:49 
6 One for My Baby	00:05:01 
7 Learnin' the Blues	00:04:38 
8 Everything Happens to Me	00:04:04 
9 That Old Feeling	00:04:26 
10 Out of Nowhere	00:04:47 
11 What's New		00:02:56 
12 Airmail Special	00:02:59 
13 Taps Miller	00:03:27 
14 You Are My Lucky Star	00:02:14 
15 Seven Come Eleven	00:03:34 
16 A Smooth One	00:04:24 
17 I'm Shooting High	00:03:18 
18 Taking a Chance on Love	00:03:51 
19 You're Faded	00:04:38 
20 It's a Good Day	00:04:25 
21 Flying Home	00:03:43 
22 Be My Love	00:02:32 
23 You Made Me Love You	00:02:29 
24 Soft Winds	00:04:19 
25 I Found a Million Dollar Baby in a Five and Ten Cent Store	00:05:46 
26 Sweet Lorraine	00:03:46 
27 Seh! Seh!	00:02:31 
28 The Things We Did Last Summer		00:02:35 
29 Rose Room	00:02:46 
30 I Found a New Baby		00:04:48 
31 On the Alamo	00:02:33 
32 Wholly Cats		00:04:15 
33 Benny's Bugle	00:03:49 
34 Scarecrows	00:02:55 
35 Airmail Special (Alternate Take)	00:03:14

John Altwerger, 19 May 1919, Toronto, Ontario, Canada, d. 7 January 1990, Palm Springs, California, USA. Originally an alto saxophonist, Auld found work in the early 30s in New York, where his family had recently moved. In 1936 he switched to tenor saxophone under the influence of Coleman Hawkins and, after leading a small group, joined the big band of Bunny Berigan. In 1939, after two years with Berigan, he was hired by Artie Shaw on the recommendation of Billie Holiday. He persuaded Shaw to recruit Buddy Rich, then, after the Shaw band folded, he worked briefly for Jan Savitt, Benny Goodman and Shaw again, before forming his own modern-sounding big band in 1943. The latter included Serge Chaloff, Erroll Garner, Dizzy Gillespie and Stan Levey. After 1946 Auld worked mostly as leader of bop-orientated small groups but with occasional stints in big bands, including those of Billy Eckstine and Goodman, and he also worked with Count Basie’s 1950 small band. Auld tried his hand at acting (on Broadway), and played in film and television studios, mainly in Los Angeles. Despite suffering from cancer, he toured extensively, and in the 70s proved especially popular in Japan. In 1977 he coached and ghosted for Robert De Niro in the movie New York, New York, in which he also appeared. In the 80s Auld worked only infrequently, visiting Japan and Europe, where he appeared at the 1984 North Sea Jazz Festival. ---Colin Larkin, The Encyclopedia of Popular Music

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01. They Can’t Take That Away From Me
02. My Blue Heaven
03. If I Loved You
04. Dinah / For You
05. Tippin’ In
06. Until The Real Thing Comes Along
07. In The Land Of Hi-Fi
08. I May Be Wrong
09. Love Is Just Around The Corner
10. A Sunday Kind Of Love
11. Swingin’ In The Moore Park
12. Frankie & Johnny
13. Too Marvelous For Words
14. Got A Date With An Angel
15. Old Rockin’ Chair
16. Rosetta
17. Back Home In Indiana
18. Prisoners Song / Blue Lou
19. Sweet Sue
20. I Get A Kick Out Of You
21. Laura
22. Sweet Lorraine

Georgie Auld (leader, ts) with:
#1-3: Conrad Gozzo, Maynard Ferguson, Ray Linn, Vito Mangano (tp), Si Zentner, Frank Rosolino, Tommy Pederson (tb), Skeets Herfurt,
 Gus Bivona (cl, as), Babe Russin (ts), Bob Dawes, Bob Lawson (bs), Paul Smith (p), Barney Kessel (g), Joe Comfort (b), Irving Cottler (d).
Hollywood, September 30, 1955.

#4-8: Same personnel as 1-3 but Manny Klein (tp) and Chuck Gentry (bs) replace Vito Mangano and Bob Lawson.
Hollywood, November 7, 1955.

#9-12: Same as #4-8 but Vito Mangano replaces Manny Klein.
Hollywood, November 11, 1955.

#13-16: Conrad Gozzo, Maynard Ferguson, Ray Linn, Vito Mangano (tp), Milt Bernhardt, Frank Rosolino, Tommy Pederson (tb), Skeets Herfurt,
 Willy Smith (cl, as), Babe Russin (ts), Irving Roth, Bob Lawson (bs), Paul Smith (p), Barney Kessel (g), Joe Comfort (b), Irving Cottler (d).
Hollywood, April 11 & 12, 1956.

#17-18: Same as 13-16 but Gus Bivona (as) and André Previn (p) replace Willy Smith and Paul Smith.
Hollywood, May 19, 1956.

#19-24: Same as 13-16.
Hollywood, May 26, 1956.

Georgie Auld and His Hollywood All Stars made a series of spiffy recordings during the autumn of 1955 and the spring of 1956 at the Capitol Studios on Vine Street in Hollywood, CA, using swank arrangements by Billy May. "Swank" is an apt descriptor for the sound of this band; the word has been traced back to the Middle Dutch "swanc" which translates as "supple"; there is also a link with the Old High German word "swingan" meaning "to swing." Billy May liked to employ dramatic flourishes and brusque, brassy maneuvers, with dazzling blasts from the trumpets and beefy bursts from the tenor and baritone saxophones over long deep basement tones from the trombones. Auld seemed to revel in this kind of a setting; the '50s were the golden age of showy sax with glitzy accompaniment. One prevailing rhythmic device was the "dip," a favorite formula for Earl Bostic that was soon being utilized by Jimmy Dorsey and dozens of popular saxophonists, including Boots Randolph. Kindred bandleaders who carried on in similar fashion during the '50s were Les Brown, Charlie Barnet, Billy Vaughn, Les Elgart and Henry Mancini. Georgie Auld and His Hollywood All Stars included Maynard Ferguson, Si Zentner, Frank Rosolino, Willie Smith, Babe Russin, Barney Kessel and André Previn. Showy, campy and at times rather explosive, this music is guaranteed to wake everyone up and maybe activate a latent sense of humor. --- arwulf arwulf, Rovi

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