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Tim Garland
ReFocus

jazz/yass/impro
Edition Records, 2020

Czas trwania: 39:52

Średnia ocena klientów: -    oceń

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CD : 61,90 zł
W magazynie: na stanie
Nr kat.: EDN1159
EAN: 5060509791125
format : CD
liczba nośników : 1
Opakowanie : kartonowy ecopack
winyl : 113,90 zł
W magazynie: na stanie
Nr kat.: EDNLP1159
EAN: 5060509791118
format : 12"LP
kolor : czarny
liczba nośników : 1
opakowanie : singlefold
 


nr tytuł play mp3
1 I'm Late, I'm Late 3:52
2 Maternal 5:29
3 Thorn in the Evergreen 5:45
4 Dream State 3:26
5 Past Light 4:26
6 Night Flight 4:31
7 The Autumn Gate 4:21
8 Jezeppi 8:00


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https://youtu.be/B1oWoVxDX0k
https://youtu.be/kRpoXS1jb1o
muzycy:
Tim Garland - Tenor Sax (soprano sax on Jezeppi, tenor saxophone on I’m Late, I’m Late and Maternal), piano.
Asaf Sirkis - drums, crotalles
Yuri Goloubev - bass
John Turville - piano on Jezeppi
Ant Law - guitar on Jezeppi
Strings:
Violins: Thomas Gould, Ben Hancox, Magdalena Filipczak, Rakhi Singh, Simran Singh
Violas: Robin Ashwell, Juan-Miguel Hernandez
Cello: Cecilia Bignall
Harp: Lauren Scott
Adam Kovacs - percussion (tracks 1 & 2)

Editor's info:
One of the UKs finest saxophonists, and a member of Chick Corea’s legendary band, Tim Garland has taken the classic Stan Getz album with strings, Focus, from 1961 and created a reworking for our time. This is not a slavish recreation, or an attempt at nostalgia, but the result of a creative mind working in the spirit of the album, and with the legacy of a great artist. It’s an exercise in expressing the past in the present and the future.

Tim has brought together a multi-talented chamber orchestra to interpret his interpretation and compositions. “It is not just the spirit of Focus I wished to pay homage to on this album, but the experimental urges of the early 1960s that were heard in jazz, film music, and the classical world - fuelled by romanticism and the burgeoning psychedelia of the new decade.”


“It is now sixty years since Stan Getz’s unique collaboration with composer Eddie Sauter produced Focus . During the next six decades more than one ‘sea change’ in music-making has transformed how we play and how we listen. By the time I came across it I had absorbed a lot of “Jazz-meets-Strings” and “Symphonic Jazz” repertoire, and Focus came across as a charming and eccentric time-piece. What would it be like, I thought, to revisit this strange crossing point of musical trajectories, over half a century on? Repeated listening to the 1961 recording brought home just how important it was, and I was hooked on the idea.”
New Music. New Thinking.

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