Release date: 18 September 2020
Credits and About
Tim Garland Tenor Saxophone (Soprano Sax on Jezeppi), Piano.
Asaf Sirkis Drums, Crotales
Yuri Goloubev Double Bass
John Turville Piano (on Jezeppi)
Ant Law Guitar (on Jezeppi)
Thomas Gould Violin
Ben Hancox Violin
Magdalena Filipczak Violin
Rakhi Singh Violin
Robin Ashwell Viola
Juan-Miguel Hernandez Viola
Cecilia Bignall Cello
Lauren Scott Harp
All music composed by Tim Garland except for track 1 which was written by Eddie Sauter.
Recorded by Andrew Dudman at Abbey Road Studio (21st December 2017) and by Ronan Phelan (10th June 2019) at MasterChord Studio
Mixed by Dan Hayden and Mastered by Peter Beckmann at TechnologyWorks UK
Artwork design by Oli Bentley, Split
Front Cover Photography by Dave Stapleton
One of the UK’s 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 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. My themes are taken, sometimes quite loosely, from fragments that Stan improvised, and I was particularly interested in the lines he played on that album that seemed outside of his central cool-bop language, directly stimulated by his more rarified environment with a minimum of ‘muscle-memory’ playing.
Stan was able to free-wheel over much of Eddie’s string writing, a freedom I thought I’d emulate when I first sat at my piano with my scrap pad. However… melodies would blossom and certain phrases would seem to nod both to the past and the future, so they simply had to be written in, and my tenor sax part was born. Fortunately, there is still plenty of space to blow and “get away from the page.” As a composer, those moments are often the most memorable in a concert.”