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Brian Auger

Brian Auger (born 18 July 1939) is an English jazz-rock keyboardist, pianist, and bandleader renowned for his innovative mastery of the Hammond B3 organ and his pivotal role in pioneering jazz-rock fusion during the 1960s and 1970s. Born in , , Auger began playing as a young child during and turned professional in the mid-1950s, drawing early influences from American broadcasts and performing at venues like Ronnie Scott's Club. His career spans session work, bandleading, and collaborations that bridged , rock, soul, and R&B, earning him acclaim as a "musician's musician" for his technical prowess and genre-transcending style. Auger's breakthrough came in the Swinging London scene, where he won the 1964 Melody Maker readers' poll for "New Star" and "Jazz Piano," solidifying his status as a leading Hammond organist. He formed the influential R&B group the Steampacket in 1965 with vocalists Rod Stewart and Long John Baldry, followed by the jazz-fusion outfit Trinity alongside Julie Driscoll, which scored a UK Top 5 hit with their psychedelic cover of "This Wheel's on Fire" in 1968. The duo's albums, including the double LP Streetnoise (1969), blended soulful vocals with Auger's organ-driven improvisation, influencing the emerging progressive rock movement. Transitioning to the U.S.-based Brian Auger's Oblivion Express in 1970, Auger incorporated funk and fusion elements, collaborating with musicians like drummer Jack Bruno and his daughter Karma Auger on vocals, and releasing key albums such as Closer to It! (1973). Throughout his six-decade career, Auger has contributed to landmark recordings, including the on the Yardbirds' "" (1965) and sessions with artists like John McLaughlin and . He performed at major events like the 1968 and received a Grammy nomination for his instrumental work, while continuing to tour and release music from his base in . Auger's legacy endures through archival reissues, such as the 2024 release of Julie Driscoll, Brian Auger & The Trinity – Live At 1968, and his influence on subsequent generations of keyboardists in and rock .

Early Life and Influences

Childhood and Musical Beginnings

Brian Auger was born on July 18, 1939, in , , mere weeks before the entered . He grew up in a working-class family of six, including his parents, an older brother, and two younger siblings, in a home that featured a as a central source of entertainment. From infancy, Auger was captivated by the pianola's mechanical rolls, and by age three, he began imitating them by ear, laying the foundation for his self-taught musical education. The profoundly shaped Auger's early years, with the family enduring the deprivations of and air raids. In 1944, when Auger was five, their home was bombed during a V-1 rocket , prompting an evacuation to the Leeds Valley area in that lasted nearly two years. There, access to a allowed him to refine his playing without formal instruction, as financial constraints prevented lessons. Wartime broadcasts from the American Armed Forces Network, combined with his older brother's collection of records by artists like and , ignited his passion for the genre amid the era's uncertainties. Auger's initial forays into performance occurred informally during this period, including small recitals for neighborhood children in before the evacuation. By age eight or nine, around 1947–1948, he was invited to play at local parties, where he passed a to collect tips for his renditions. Back in after the war, he performed Winifred Atwell-inspired tunes on his grammar school's grand piano, notably "Cross Hands Boogie" at a , which drew enthusiastic from peers. These experiences culminated in his first public appearances in London's jazz clubs by the mid-1950s, transitioning from amateur enthusiasm to emerging professionalism.

Key Influences and Development

Brian Auger's foundational style emerged from a deep immersion in American pianists, including and , whose virtuosic techniques and improvisational flair profoundly shaped his approach to keyboard playing. He also drew significant inspiration from blues artists like Jimmy Smith, whose innovative use of the introduced Auger to the instrument's rhythmic and expressive potential. These influences were complemented by the emerging rock elements in the British music scene, where and early rock 'n' roll provided a bridge between traditional and more groove-oriented forms. Largely self-taught due to his family's limited financial resources, Auger progressed rapidly on after gaining initial access to instruments through his father's , a mechanical that allowed him to study rolls of standards. By his late teens, he had achieved proficiency, honing his skills in London's vibrant circuit during the late and early . In the early , Auger adopted the Hammond B3 organ, experimenting with its capabilities to expand his sonic palette beyond acoustic . His innovative organ techniques earned him early recognition as a prodigy in Melody Maker magazine around 1960, highlighting his ability to fuse technical precision with creative flair. Auger began blending harmonies with structures and R&B grooves in informal settings, laying the groundwork for his signature style through spontaneous performances that emphasized and rhythmic drive.

Early Career

Session Work and Initial Bands

Brian Auger began his professional career in the early as a freelance amid London's vibrant and scenes. His initial session work included contributions to recordings with prominent blues artists, such as piano on sessions with Sonny Boy Williamson during the American bluesman's UK tour in 1964. As the decade progressed, Auger immersed himself in the city's beat groups and R&B bands, gaining exposure through the British blues revival. He developed his signature keyboard approach, adopting the Hammond B3 organ in 1965 self-taught and inspired by jazz organist Jimmy Smith, though he initially relied on piano for many early gigs. Auger's session contributions extended to major British labels such as Polydor and Decca throughout the 1960s, where he added organ and piano to a variety of pop, blues, and R&B tracks, supporting emerging artists in the competitive recording industry. By 1963–1964, Auger formed his first significant group, the Brian Auger Trio, a jazz-focused ensemble that allowed him to explore original compositions and arrangements in live performances around clubs. This short-lived outfit represented his transition from anonymous session player to , honing the elements that would define his later work.

Formation of Trinity

In 1966, following the dissolution of the R&B revue , Brian Auger assembled the Brian Auger Trinity as his first major led ensemble. He recruited vocalist , whom he had collaborated with in , alongside bassist Dave Ambrose and drummer Clive Thacker, creating a that blended Auger's jazz prowess with Driscoll's soulful, improvisational singing. This lineup marked Auger's shift toward band leadership, emphasizing a of , rhythm and blues, and emerging psychedelic elements. The debuted with live performances in clubs during late 1966, showcasing their innovative sound that incorporated grooves and vocal explorations, which quickly attracted attention from the mod and scenes. Managed by , the group signed with Marmalade Records, a label known for progressive acts, enabling their recording debut. Their initial album, Open, released in 1967, captured this psychedelic essence through tracks like "" and improvisational covers, reaching number 12 on the and highlighting Driscoll's dynamic range alongside Auger's intricate keyboard work. The band's early momentum culminated in 1968 with the breakthrough single "," a cover that Auger and Driscoll reinterpreted with swirling organ and urgent vocals, propelling it to number 5 on the and spending 16 weeks in the Top 75. This hit solidified the Trinity's reputation for genre-blending innovation, bridging underground experimentation with mainstream pop appeal during the Swinging London era.

Major Collaborations

Steampacket and Julie Driscoll Partnership

In 1965, Brian Auger co-formed the British R&B revue alongside as the lead vocalist, with and also handling vocals, Auger on , and a including guitarist , bassist Ricky Brown and drummer . The group specialized in high-energy performances of R&B and soul covers, such as Jimmy Reed's "Bright Lights, Big City" and Bobby Bland's "Ain't That Loving You Baby," drawing from the club scene in and emphasizing Auger's jazz-inflected organ grooves supporting the rotating vocalists. Operating more as a touring package than a fixed band, played extensive club and theater dates across the , building a reputation for dynamic live shows that blended energy with emerging psychedelic elements. The ensemble disbanded in 1966 amid contractual disputes and shifting personnel, with Baldry and Stewart pursuing solo paths, prompting Auger and Driscoll to pivot toward a more collaborative jazz-rock venture. This led to the formation of Julie Driscoll, Brian Auger and the Trinity, retaining core members like guitarist Vic Briggs and expanding Auger's organ-driven sound with Driscoll's versatile, improvisational vocals to create a signature synergy between soulful singing and Hammond explorations. Their partnership emphasized experimental covers and originals that fused R&B roots with psychedelic jazz, as heard in BBC radio and TV sessions where they interpreted tracks like The Doors' "Light My Fire" with extended organ solos and Driscoll's emotive phrasing. The duo's recorded output highlighted this vocal-organ interplay, beginning with the 1967 album Open, a debut that captured their mod-to-psychedelic transition through tracks like "Black Cat" and "Isola Natale," blending pop accessibility with improvisational flair. Followed by the ambitious Streetnoise in 1969, which incorporated protest themes and global influences in songs such as "" and a medley of "Take Me to the Water" into gospel-jazz extensions, further solidifying their cult status in the UK underground. Extensive touring, including European dates and festival appearances, alongside , cemented the Trinity's credentials in the evolving and psychedelic scenes, showcasing Driscoll's range from raw to experimentation over Auger's rhythmic organ foundation.

Brian Auger's Oblivion Express

Brian Auger's Oblivion Express was formed in 1970 in by the keyboardist Brian Auger following the breakup of his previous group, the , to pursue new opportunities in the jazz-rock scene. The initial lineup featured Auger on keyboards, alongside drummer , marking a shift toward a more , fusion-oriented ensemble that built on Auger's earlier experiences but emphasized groove-driven compositions. The band's debut album, Brian Auger's Oblivion Express (1971), introduced their signature sound, followed by (1972), which achieved commercial success by reaching No. 170 on the Top LPs chart and featured the addition of vocalist , whose soulful delivery helped broaden the group's appeal. Subsequent lineup changes, including Ligertwood's prominent role, contributed to hits like "Happiness Is Just Around the Bend" from the 1973 album Closer to It!, a funky, upbeat track that exemplified the band's accessible style influenced by Auger's prior vocal collaborations with artists like . Throughout the 1970s, Oblivion Express toured extensively in Europe and the United States, performing at venues like the Montreux Jazz Festival and building a dedicated following through their dynamic live sets that blended jazz improvisation, funk rhythms, and rock energy. The group reached its commercial peak during this period but faced challenges from shifting musical trends, leading to its dissolution by the late 1970s as Auger transitioned to other projects.

Solo and Later Career

Transition to Solo Work

Following the peak years of Brian Auger's Oblivion Express, the 1973 album Closer to It! served as a pivotal bridge, blending the band's with Auger's emerging personal stylistic voice through extended improvisational tracks and soul-infused grooves. This release, while credited to the ensemble, highlighted Auger's leadership and compositional direction, laying groundwork for his independent endeavors beyond strict band structures. In the late 1970s, after relentless touring concluded in 1977, Auger relocated from the UK to the in , seeking a respite from the industry's demands to prioritize family life and pursue music studies at Marin College and . This move profoundly shaped his career trajectory, fostering a period of introspection that distanced him from the high-pressure environment of major label obligations and European circuits. By the early 1980s, Auger entered a self-imposed hiatus from major labels, lasting approximately 11 years amid a challenging market for jazz-rock acts, during which he largely stepped back from recording and large-scale performances. Emerging from this phase in the mid-1980s, Auger recommenced activity with selective guest appearances, including a tour as part of the short-lived supergroup Maestro alongside guitarist Kim Simmonds of Savoy Brown, drummer Gregg Errico of Sly & the Family Stone, and bassist Tim Bogert of Vanilla Fudge, emphasizing his Hammond organ prowess in a rock-oriented context. He also contributed keyboards to Italian singer Mango's 1986 album Odissea, showcasing his versatility in pop settings. By 1987, Auger released Keys to the Heart under his leadership with a reformed Oblivion Express lineup, incorporating synthesizers alongside his signature organ tones to explore smoother, contemporary fusion sounds reflective of the era's production trends.

Recent Projects and Collaborations

In the early 1990s, Auger collaborated extensively with , touring together and releasing the live album Access All Areas in , which captured their energetic blend of blues-rock and jazz elements. Toward the late 1990s, he reformed the Oblivion Express, integrating family members such as his daughters Savannah and Ali Auger into the ensemble to infuse fresh vocal and performative dynamics. This revival culminated in the 2000 album Voices of Other Times, a outing that revisited the group's signature fusion sound with updated arrangements. In 2000, Auger joined forces with guitarist , bassist Bunny Brunel, and drummer to form the instrumental supergroup , known for its virtuosic interplay and genre-blending approach. The quartet debuted with the self-titled album CAB that year, followed by CAB 2 in 2001 and CAB4 in 2003, the latter featuring guest pianist and emphasizing intricate compositions rooted in jazz standards and progressive rhythms. Auger's solo output gained momentum in the 2020s with the release of in 2020, a three-CD of 35 tracks curated from his five-decade career, including 18 previously unreleased performances that showcase his Hammond B3 mastery alongside explorations and family collaborations like Savannah's vocals on "Butterfly." This set underscores his transitional role in jazz-rock, bridging early R&B influences with later innovations. In 2022, he issued Auger Incorporated via Soul Bank Music, a double-disc compilation of rare archival material from projects including the Brian Auger and The , featuring covers such as "The Preacher" and live cuts like "Freedom Jazz Dance." Remaining active into his later years, Auger has sustained international tours with rotating ensembles, often drawing on his Oblivion Express repertoire to engage contemporary audiences. A January JazzTimes profile highlighted his 60-plus-year tenure in music, coinciding with the release of the Complete Oblivion , which compiles the original Oblivion Express studio albums from 1971 to 1975 alongside live recordings and rarities to affirm his foundational impact on . In 2024, archival live releases Live Oblivion Vol. 1 and Vol. 2 were issued, further documenting his enduring performances.

Musical Style and Legacy

Innovations in Jazz-Rock Fusion

Brian Auger's pioneering application of the Hammond B-3 organ in rock and contexts marked a significant departure from traditional setups, delivering a raw, direct tone without the conventional rotation. By routing the organ signal straight through amplifiers, often enhanced with the instrument's built-in and effects, Auger achieved swirling, psychedelic textures that infused rock energy into . This technique, evident in his mid-1960s work with The Trinity, allowed for aggressive, guitar-like sustain and harmonic depth, distinguishing his sound from peers who relied on modulated swirl. During the and , Auger's compositions and arrangements laid foundational elements for , blending soulful grooves, improvisational freedom, and electronic experimentation in a way that anticipated the genre's revival. His integration of phrasing over R&B and backbeats, as heard in albums like Open (1967), created a hybrid that emphasized rhythmic propulsion and modal exploration, influencing later acts such as , whose early tracks echoed Auger's groove-oriented fusion. Dubbed the "Godfather of Acid Jazz" for these innovations, Auger's approach bridged underground clubs and pop audiences, fostering a sound that prioritized accessibility without sacrificing complexity. With the Oblivion Express in the early 1970s, Auger expanded boundaries by incorporating syncopated rhythms and the , which provided a warmer, more percussive layer to his ensembles. Tracks like "Straight Ahead" from the 1973 album Closer to It! showcased this evolution, where comping intertwined with bass lines to drive extended jams, merging Hancock-inspired voicings with rock-inflected grooves. This not only broadened 's rhythmic palette but also emphasized collective , pushing the genre toward greater harmonic and textural diversity. In the 1980s, Auger evolved his palette by incorporating synthesizers such as the and string machines alongside his core Hammond and setups, as featured on the 1987 album Planet Earth Calling. This shift allowed for broader sonic landscapes—layering analog synth pads and leads over funk- foundations—while preserving the improvisational essence that defined his style. By adapting these electronic tools to maintain spontaneous solos and interplay, Auger ensured his music remained rooted in jazz's exploratory spirit amid the decade's synthesizer-heavy trends.

Recognition and Impact

Brian Auger earned critical acclaim for his prowess in the 1970s, securing placements in the Readers' Polls, where he received 91 votes in the organ category in 1970, ranking among the top contenders. He continued to be recognized in subsequent polls, such as 1971, reflecting his rising influence in jazz-rock circles. In 2023, JazzTimes profiled him as the United Kingdom's preeminent , highlighting his enduring mastery of the instrument across six decades. Auger's work positioned him as a key figure in the jazz-infused branch of the , where he fused R&B, , and elements during the scene, directly contributing to the transatlantic exchange that popularized these hybrids in the United States. His early experiments in jazz-rock fusion anticipated developments by American artists like and , as Auger noted in interviews that his Oblivion Express band pioneered such sounds ahead of Hancock's in 1973. Regarded as the "Godfather of Acid Jazz," Auger's legacy stems from his boundary-blurring integrations of jazz, soul, funk, and psychedelia in the late 1960s and early 1970s, a title affirmed in a 2015 Red Bull Music Academy feature. This influence extends to modern music, with tracks from his Oblivion Express era sampled by hip-hop and electronic artists including Mos Def, Common, Air, and Kid Loco. In 2020, Auger marked his 60-year milestone in music through reflective interviews, emphasizing his commitment to innovative performance amid evolving genres. As of 2025, his legacy continues through reissues of his catalog and interviews reflecting on his pioneering role in jazz-rock .

Discography

With and

Brian Auger's early collaborations in the were marked by his role as the keyboardist and musical director for the blues-soul revue The Steampacket, which featured vocalists , , and but produced no studio albums during its active period from 1965 to 1967. The group's only official release, The First Supergroup, emerged posthumously in 1977 on Charly Records, compiling rehearsal recordings from December 1965 that captured their raw, energetic performances of and R&B standards like "Watch Your Step" and "The Sidewinder." This album highlighted Auger's work, providing a foundation for his innovative style, and saw reissues in 1987 on and 1992 on Records, preserving the band's supergroup legacy. Following The Steampacket's dissolution, Auger formed in 1967, blending , soul, and with vocalists including , and released their debut Open that year on Marmalade Records. The featured Auger's intricate arrangements on tracks like "These Things Are Happening" and "," showcasing his ability to merge Hammond B3 riffs with pop sensibilities. Open received a vinyl reissue in 2025 on Soul Bank Music, restoring its original artwork and emphasizing its influence on British -rock. The Trinity's follow-up, Definitely What!, arrived in 1969 on Vertigo Records, further exploring Auger's experimental edge with compositions such as "The Fox" and covers like "Freddie's Wreck," where his keyboard solos drove the psychedelic jazz grooves. This album was remastered and reissued on vinyl in 2025 by Strut Records, curated with input from Auger and his son Karma, highlighting its role in bridging mod culture and progressive sounds. That same year, Auger collaborated with Julie Driscoll on Streetnoise, a double album on Polydor that incorporated folk-rock and Eastern influences in tracks like "Light My Fire" and "Tropic of Capricorn," with Auger's organ providing textural depth amid Driscoll's evolving vocal style. Key singles from these Trinity sessions underscored Auger's commercial breakthrough. "This Wheel's on Fire," a Bob Dylan cover performed by Julie Driscoll, Brian Auger & The Trinity, reached number 5 on the UK Singles Chart in 1968, propelled by Auger's swirling organ and the duo's dynamic interplay. Similarly, "Indian Rope Man," a Richie Havens adaptation from 1969, peaked at number 26 in the UK, featuring Auger's rhythmic Hammond foundation supporting Driscoll's soaring vocals and the band's improvisational flair. These tracks appeared on various compilations, including the 2008 anthology Tiger, which drew from Steampacket and Trinity archives to contextualize Auger's 1960s output. Reissues in the 2020s, such as the 2022 Soul Music Records collection Back to the Beginning: The Brian Auger Anthology, have revived interest in these foundational recordings, affirming their enduring impact on fusion genres.

As Leader and Oblivion Express

Following the dissolution of his earlier groups, Brian Auger began leading projects that emphasized his keyboard prowess in jazz-rock fusion. His first notable album as leader was (1969), recorded with members of The Trinity and featuring covers and originals like "I Wanna Take You Higher" and "," blending soul-jazz with psychedelic elements. In 1970, Auger formed the Oblivion Express, a revolving ensemble that became his signature vehicle for exploring , and rock integration through extended improvisations and rhythmic grooves. The band's debut, Brian Auger's Oblivion Express (1971, RCA Victor), introduced tracks such as "Dragon Song" and "Total Eclipse," highlighting Auger's work alongside guitar and horn sections. Later that year, they released A Better Land (1971, RCA Victor), which expanded on the debut's cosmic themes with pieces like "The Sword" and "," incorporating more layered arrangements. The Oblivion Express continued with Second Wind (1972, RCA Victor), a pivotal release that solidified their sound through funky rhythms and blues-inflected solos, exemplified by "Inner City Blues." Closer to It! (1973, RCA Victor) followed, featuring the upbeat, horn-driven track "Happiness Is Just Around the Bend," which became one of Auger's most enduring compositions and a jazz-funk staple. The live recording Live Oblivion Vol. 1 (1974, RCA Victor) captured the band's energetic performances at venues like the Montreux Jazz Festival, including extended versions of "Light My Fire" and "Inner City Blues." Subsequent studio efforts included Straight Ahead (1974, RCA Victor), known for its driving title track and tighter grooves, and Reinforcements (1975, RCA Victor), which incorporated guest vocalists and more pop-oriented hooks while retaining improvisational depth. The era concluded with Happiness Heartaches (1977, RCA Victor), a more introspective blending ballads and uptempo numbers, signaling a shift before the band's hiatus. In the , renewed interest led to reissues and compilations, most notably the 2023 Complete Oblivion (Soul Bank Music), which remastered the six studio albums from 1971 to 1975 from original tapes, accompanied by a 24-page detailing the band's evolution. This collection underscores the Oblivion Express's foundational role in Auger's catalog, preserving their innovative blend of genres for contemporary audiences.

Later Albums and Collaborations

In the late 1980s, Auger revived his Oblivion Express project with the album Keys to the Heart, released in 1988 on , featuring a blend of grooves and vocal harmonies led by his daughter Savannah Auger. The marked a return to his roots after a period of side work, including contributions to film scores and guest appearances, with tracks like "" showcasing his signature riffs. Entering the 1990s, Auger focused on more introspective and collaborative efforts, culminating in Voices of Other Times in 2000 on Miramar Productions, an album that reunited elements of the Oblivion Express with guest vocalists and emphasized smooth R&B-infused jazz arrangements. This release, often dated to late in some pressings, highlighted Auger's evolving style through tracks such as "It Burns Me Up," incorporating contemporary production while echoing his earlier innovations in jazz-rock fusion. The early 2000s saw Auger expand into high-profile supergroup collaborations with , a outfit featuring guitarist , bassist Bunny Brunel, and drummer . Their self-titled debut arrived in 2000 on Tone Center Records, delivering intricate instrumental workouts like "A Voice Through a Cloud" that fused Auger's prowess with elements. Followed by CAB 2 in 2001, which earned a Grammy nomination for Best Contemporary Jazz Album and included energetic cuts such as "Decisions," these efforts solidified Auger's role in bridging traditions with modern . The group continued with live and studio output, though no separate album materialized; instead, their touring emphasized high-energy performances drawing from these recordings. In recent years, Auger has prioritized solo and archival projects, releasing Language of the Heart in 2012 as an independent effort that explored influences with rhythms and his keyboards on tracks like "Autoroute." This was followed by the 2020 compilation on Sunset Blvd Records, a of his keyboard-focused works spanning decades, including rare live cuts and studio gems. Compilations like Auger Incorporated (2022, Soul Bank Music), a 26-track anthology of Oblivion Express highlights, and the Far Horizons (2022, Strut Records), which remastered early material with new , have preserved his catalog for new audiences. Post-2000 live recordings, such as Captured Live (2006, with Rudy Rotta) documenting a collaborative live performance, further capture his enduring stage presence and improvisational flair. These releases reflect Auger's lasting impact on jazz-rock, maintaining the genre's vitality through selective revivals rather than exhaustive output.

Personal Life

Family and Relationships

Brian Auger married Ella Auger in 1968, shortly after meeting her in in 1967. The couple raised their three children—daughters and Savannah, and son Karma—in initially, before relocating to the in 1975. They spent seven years in the , followed by two years traveling through Europe, including stays in , , , and , to provide cultural exposure for the family; all three children are fluent in due to their mother's heritage. Ella Auger died in 2020. Auger's children have pursued careers in music, reflecting a family-oriented approach to his professional life without parental pressure to follow suit. Ali Auger, the eldest daughter, performed as a vocalist in her father's bands during the mid- to late . Savannah Auger has also served as a singer in the Oblivion Express, contributing vocals and percussion. Son Karma Auger plays drums, provides background vocals, and handles logistical management for Auger's ensembles, making recent lineups a true . Auger's extensive touring schedule posed challenges to family dynamics, as he was often away from home for long periods. However, managed the household effectively, ensuring stability for the children, while Auger maintained connections through phone calls and postcards during tours. This support allowed the family to remain close-knit despite the demands of his career, with the children later joining him onstage as adults.

Health and Residence

Brian Auger relocated from the to in 1975, settling in the to spend more time with family while later taking music courses at Marin College and . He has maintained his residence in Venice, California—a neighborhood in —since 1989, where he enjoys a coastal that includes morning walks on the beach. In his later years, Auger has demonstrated a steadfast dedication to music, remaining creatively engaged despite advancing age. At 84, he participated in a 2023 reflecting on his and approach to playing, underscoring his continued passion for the and jazz-rock fusion. By 2024, he was described as being in fine spirits while working from his home practice space, balancing musical reflection with family time alongside his children and grandchildren. However, as of February 2025, Auger has faced health challenges, with reports noting he is not in the best of health, though he continues to express gratitude for tributes to his legacy.

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