Stan Getz Plays Music From The Soundtrack of Mickey One (FLAC, 1998)

tracks

1 Once Upon A Time 3:58
2 Mickey’s Theme 2:23
3 Index 1, 2, 3 2:59
4 Index 1, 2, 3, 4, 5, 6, 7 10:43
5 The Succuba 3:25
6 Mickey Polka 0:54
7 Index 1, 2, 3, 4 2:27
8 Index 1, 2 3:40
9 Index 1, 2, 3, 4, 5, 6, 7, 8, 9 11:31
10 Morning Ecstasy (Under The Scaffold) 0:48
11 As Long As I Live 2:06
12 Is Ther Any Word ? So This Is The Word 1:55
13 Mickey’s Flight 5:24
14 Once Upon A Time 3:59
15 Index 1, 2 2:11
16 Index 1, 2, 3, 4, 5 4:25
17 A Girl Named Jenny 1:25
18 Touching In Love 1:43
19 Index 1, 2 3:29
20 Morning Ecstasy (Under The Scaffold) 0:47
21 Is Ther Any Word ? So This Is The Word 1:24

https://mega.co.nz/#!qpZUmbhD!DKfHgmhq6Dm8ITCBrNUJ1avZKLHxlNVCrG_8I9u mULE

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Mickey One is a 1965 surrealistic dramatic film starring Warren Beatty and directed by Arthur Penn from a script by Alan Surgal. Its kaleidoscopic camerawork, film noir atmosphere, lighting and design aspects, Kafkaesque paranoia, philosophical themes and Warren Beatty’s performance in the title role turned the film into a cult classic. Penn and Surgal ignored the usual conventions of narrative for a freewheeling approach to their dramatic devices and Chicago locations.

The film’s soundtrack, reverberating with hints of everything from B�la Bart�k to bossa nova, reteamed Stan Getz with arranger Eddie Sauter, following their classic album Focus.

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