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Focus

June 24, 1997

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1
30
8:08
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2
30
Her
6:10
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3
30
Pan
3:55
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4
30
5:00
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5
30
3:55
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6
30
4:46
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7
30
5:58
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8
30
2:28
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9
30
2:57
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Product Details

  • Original Release Date: June 24, 1997
  • Release Date: June 24, 1997
  • Label: Verve Records
  • Copyright: (C) 1997 The Verve Music Group, a Division of UMG Recordings, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 43:17
  • Genres:
  • ASIN: B000W1XF7C
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (33 customer reviews)
  • Amazon Best Sellers Rank: #66,503 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Music lovers everywhere rejoice.
Tom Bruce
I had this album on vinyl many years ago, and now on CD, it is just as wonderful a sound.
Colorist
If you think this is elevator music, listen again.
rash67

Most Helpful Customer Reviews

48 of 50 people found the following review helpful By Arthur Hampton on October 1, 2003
Format: Audio CD
I was working the midnight shift in the lab at Clark Air Base in the Philippine Islands when this haunting sound came out of the radio. As the morning crew came to work EVERYONE stopped to listen to what was being played. I was mesmerized and stayed late to find out who was playing. This is NOT a combination of jazz and classical music. The music was arranged by Eddie Sauter, an amazing composer who was noted for the Sauter/Finnegan Orchestra which played a lot of cutting edge music in the 50's. It was written specifically for Getz, and Sauter was present at the recording. This was my first exposure to Getz, and I'll never forget it. A few months later I heard Desafinado, and again I was glued to the spot. This is not my favorite recording of Stan, but for that you need to pick up Stan Getz Quartets (if that's what they're calling it these days). It is a collection of tunes that he recorded in the late 40s, early 50s and was playing like a young man posessed. This is a more mature sounding player, but just as inspired.
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31 of 32 people found the following review helpful By Tom Bruce on June 22, 2005
Format: Audio CD
The story behind the making of this record is almost as impressive as the record itself. Stan Getz had commissioned Eddie Suter to write something for him to record, and he gave Sauter carte blanche. Eddie came up with a suite for strings and drum. None of the sax parts were written. Stan was to totally improvise his work. A recording date was set. Unfortunately, the day before the date, Stan's mother died. Yet, the date established was the only one where the other instrumentalists could get together. So, they went in and laid down their parts. A few days later, Stan and Eddie went into the studio. Stan listened to the recordings just once and then recorded his glorious sax solos, laying his track onto the strings and drum recording to come up with the finished product. Only one movement of the suite had more than one take, and Stan and Eddie couldn't decide which was better, so they laid them out back to back on the finished product. I am a fan of Getz, and although I have been a life-long oldies rock and roll DJ, this is my favorite record of all time. Stan's marvelous, melodic, inventive, non-reptititve improvisations have never been better. Each movement of the suite is different and complete unto itself. Except for a few musical school concerts, I don't believe anyone has ever even tried to duplicate this achievement. Music lovers everywhere rejoice. This is the epitome of artistic triumph.
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22 of 24 people found the following review helpful By A Customer on January 26, 2004
Format: Audio CD
'Focus' was the record that Stan Getz always mentioned when interviewers asked him which was his favorite album that he had made. This is beautiful music. It is different...if you only like your jazz with a steady 4/4 walking bass and swinging ride cymbal with standard instrumentation, then you should pass on this one. 'Focus' has more of a classical instrumentation with a string section. Getz was only supplied with a transposed score...no parts were written for the saxophone. What you hear is Stan's response to Eddie Sauter's inspired writing. Getz's imagination and gift for melody is much in evidence. Roy Haynes is a gas on "I'm Late". This record is a real classic. The reviewers who call this 'elevator muzak' should expand their listening horizons.
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13 of 14 people found the following review helpful By rash67 VINE VOICE on June 5, 2004
Format: Audio CD
Big Band playing could be a straightjacket. With a big band usually everything is written and scripted. Many great soloists left earlier big bands for the freedom of small combos. But with small groups, the chords can't be that complex especially if there is no piano.
Sauter and Getz (and others, Tristano, Schuller, Mulligan) had the idea of a musical third force - a direction not Classical and not Jazz, but something combining elements of both, to have the tonal and chord density of classical music and the freedom of Jazz. (Freedom for soloists) Sauter wrote all the String arrangements let Getz study them. Then Getz spent take after take improvising, winding his arabesque solos around the scripted parts. Acrobatic. Miles Davis also did work like this with Gil Evans.
It was an effort he, they, were very proud off. Getz said he worked harder and was prouder of this than any other album.

While it was being recorded, Getz mother Goldie died, who he was quite close to. *Her* is a musical tribute to his mother. True emotion here, this is heartfelt music.
The genius of Stan Getz (and early Miles Davis) was to know when to play, when to be silent, when to follow the melodic line, when to play arching convoluted bebop. Like a painter that meditates to paint just the right stroke. And it's happening in real time, at the speed of sound!
If you think this is elevator music, listen again. Ballads give the soloist no place to hide, but expose the soloist's inner depth (or lack thereof).
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11 of 12 people found the following review helpful By Q on February 8, 2006
Format: Audio CD Verified Purchase
This is an absolutely unique and fascinating CD! The string arrangements are very original and provocative--not syrupy at all, but not dissonant either. Stan Getz' tenor playing is equally original and provocative. I've been a big jazz fan for 30 years, but this album completely surprised me with its originality. Stan's playing here is more progressive and provocative than many of his other albums. Not sentimental and not discordant, just interesting and enjoyable solid jazz improvisations over thoughtful intelligent string arrangements. Not your typical standards album.
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