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Mickey One Original recording remastered, Soundtrack


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Audio CD, Original recording remastered, Soundtrack, November 24, 1998
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Once Upon A Time 3:58$0.99  Buy MP3 
listen  2. Mickey's Theme 2:22$0.99  Buy MP3 
listen  3. Medley: On Stage (I'm A Polack Noel Coward) 2:58$0.99  Buy MP3 
listen  4. Medley: Is There Any Word From The Lord?10:43$0.99  Buy MP3 
listen  5. The Sucubba 3:25$0.99  Buy MP3 
listen  6. Mickey Polka0:54$0.99  Buy MP3 
listen  7. Medley: Where I Live 2:27$0.99  Buy MP3 
listen  8. I Put My Life In Your Hands / A Girl Named Jenny 3:40$0.99  Buy MP3 
listen  9. Medley: Yes - The Creature Machine11:32$0.99  Buy MP3 
listen10. Morning Ecstasy (Under The Scaffold)0:47$0.99  Buy MP3 
listen11. As Long As I Live 2:06$0.99  Buy MP3 
listen12. Is There Any Word? So This Is The Word 1:55$0.99  Buy MP3 
listen13. Mickey's Flight 5:24$0.99  Buy MP3 
listen14. Once Upon A Time 3:59$0.99  Buy MP3 
listen15. Mickey's Flight / The Crushout 2:11$0.99  Buy MP3 
listen16. Medley: Is There Any Word From The Lord? 4:25$0.99  Buy MP3 
listen17. A Girl Named Jenny 1:25$0.99  Buy MP3 
listen18. Touching In Love 1:42$0.99  Buy MP3 
listen19. (Going To) Who Owns Me / The Big Fight 3:29$0.99  Buy MP3 
listen20. Morning Ecstasy0:46$0.99  Buy MP3 
listen21. Is There Any Word? So This Is The Word 1:24$0.99  Buy MP3 

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Verve Records announces a major find, a previously unreleased session of vintage work by Stan Getz, one of the giants of jazz history. Bossas and Ballads: The Lost Sessions was recorded in March, 1989, and produced by Getz's close friend Herb Alpert. Backing the celebrated saxophonist is his longtime partner, pianist Kenny ... Read more in Amazon's Stan Getz Store

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Product Details

  • Audio CD (November 24, 1998)
  • Original Release Date: September 27, 1965
  • Number of Discs: 1
  • Format: Original recording remastered, Soundtrack
  • Label: Polygram Records
  • ASIN: B00000DLX7
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #350,955 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

The soundtrack to the 1965 Warren Beatty art movie Mickey One is a little-known sequel to tenor saxophonist Getz and composer Eddie Sauter's superior jazz-and-strings date Focus of 1961. For the film, Getz again improvises his way across Sauter's punchy or lush orchestral charts. (Different takes were used for the LP and the film itself; the CD has both.) Given the dark moods and expressionist visuals of Arthur Penn's black-and-white allegory, however, this is the cheerful Focus's id-driven flip side. The soloist's usual limpid lyricism and melodic invention are in full view, but Getz--"in character" as a panicky entertainer on the run--indulges his more expressive side too. Tracking Mickey's progress, Sauter (and Getz) drift through playful impressions of rock & roll, polka, Vegas schlock, Salvation Army, jazz, and bossa nova, skipping lightly like style-quoting missing links between Charles Ives and John Zorn. It's vividly mysterious, fun, and a little mad--like the picture. --Kevin Whitehead

Customer Reviews

3.2 out of 5 stars
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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Disink on May 12, 2014
Format: Audio CD
If you wander to this page, you're likely a Stan Getz fan. Further, you're likely a fan of the phenomenal Focus record, Getz's 1961 masterpiece where he improvised over Sauter's original music for strings. That included music that was at times lush, at other times tense, at still other times bold, sometimes all within the same song (see especially the Roy Haynes assisted masterwork, "I'm Late, I'm Late"). Needless to say, when I read about this OTHER Sauter/Getz recording, I jumped on it. The hype hit me before I could even cue up the first song: Getz bragging it was better than "Focus" (maybe for a day, but ultimately he returned to the other); critics raving about it being a lost masterpiece (the new liner notes really get into this); various reviewers seeming to be unable to agree on exactly what it is. I took the disc out and let "Once Upon a Time" wash over me, sat through the record a few times, and ultimately...thought it was interesting.

Someone coming to this from "Focus" MUST understand that it is a soundtrack first and last. Sauter was scoring for a neurotic film and the result mirrors that state of mind. For what it's worth, the group re-recorded in a studio after the film was finished, and that does add something (check out the actual film score at the end and you'll see what I mean, though some of the sound effects are groovy). Still yet, it sounds like a score: a song with no real melody starts, the orchestra suggests movement, Getz blows a bit, and then suddenly they veer into another sequence. That's the thing: these aren't songs, they're bits of the film highlighted on a soundtrack.
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5 of 7 people found the following review helpful By thedre on July 31, 2006
Format: Audio CD Verified Purchase
I first heard this music on a mono MGM lp, maybe around 1967...when I was seventeen playing on a fine portable stereo with take off speakers and tip down turntable. Even then, very inexperienced as I was, (No MIngus or [...]Brew yet) this album struck me as extraordinary. This music is the most exciting and brilliant music that I have on any album or CD since then....it smoothly starts kinda Bossa, then moves right into power story telling with no holds barred. The sheer variety of sound that Eddie Sauter pulls out of his orchestra with Getz is staggering, and even when he let a polka emit out of the blitz, it bristles with a raw power...(WHen I first heard the polka which only last about a minute or so, as a 17 year old, I blew it off. ) What strikes you about this material is the dynamics...if you know the live Mingus, it approaches it, but Mingus never worked ideas like these....with that singular Getz voice becoming the interior of the Warren Beatty character always panicked....and never free. There's an early section where Getz plays three different solos over each other..all parts of the confused mind of the lead character....There are so many moments that move from sheer agony and fear into triumph and bliss, that it's almost too much to give yourself over to. Trust me, you've never heard anything like this album....and the previous collaberation between Eddie Sauter and Getz (Focus) doesn't come anywhere near this. This isn't just some avante-garde music that riffs along....this is some nailed grandeur singing in the streets. If you are a seeker of the extraordinary in music....this is at the top. Here's something else that's very unusual about this date.Read more ›
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6 of 9 people found the following review helpful By Jeffrey R Galipeaux on December 25, 2000
Format: Audio CD
The soundtrack to Arthur Penn's Paranoid, neurotic "Mickey One" is a big, splendid failure, a score more concerned with defending a musical position than with being a cohesive soundtrack.
First, "Mickey One" tries to prove that Getz and Sauter's incomparable "Focus" was not a beautiful cul-de-sac but a valid and accessible musical tangent that could have been explored long into the future. "Mickey One" is highly listenable, masterful in places, but the shape of the film dictates that the tone of the music lunge around much too quickly to really be a kind of jazz 'tone poem' on the level of "Focus". Had Getz and Sauter worked on a slower, more meditative film, the discoveries of "Focus" might have found easier real world applications.
Second, the modish attempts to tweak the score to the film are not always successful. When Getz tries to infuse his playing with Mickey's paranoia, it just sounds like bad saxophone playing. But for the most part, the sharpened, knifelike quality to the recording does work. In places it sounds like Stan had been keeping his reeds in the freezer; but even so, he comes out sounding very good -- very "startlingly cinematic".
"Mickey One" is not a great score, but Getz is in fine form, there is some strong and lovely music here ... as well as some frantically overambitious scoring. This is a great disc to have on when you are trying to do nineteen things at once, because it's music that understands your dilemma.
Not a classic but a must for any Getz fan.
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