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Breakfast At Tiffany's

Barney Kessel

Jazz - Released September 1, 2011 | Rhino - Warner Records

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Breakfast At Tiffany's

Original Off-Broadway Cast of Cruel Intentions

Film Soundtracks - Released January 11, 2019 | ABKCO Music & Records

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Moon River (From "Breakfast at Tiffany's")

Piano Master Music

Pop - Released September 28, 2022 | Piano Master Music

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Moon River & Breakfast at Tiffany's

Henry Mancini

Vocal Jazz - Released September 1, 2017 | Hot Rock Records

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Moon River & Fly Me To The Moon (feat. You Shin Kim)

SoundNJoy

Soundtracks - Released March 18, 2024 | Moon River (Original Breakfast at Tiffany's) & Fly Me To The Moon

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Breakfast at Tiffa G's

Tiffa G

Hip-Hop/Rap - Released July 26, 2019 | Tiffa Media & Entertainment

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Over-Nite Sensation

Frank Zappa

Rock - Released September 1, 1973 | Frank Zappa Catalog

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Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground. Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in "Montana," the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific.© Steve Huey /TiVo
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Double Nickels on the Dime

Minutemen

Rock - Released January 24, 2006 | SST Records

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Back To Life

Martin Solveig

Dance - Released October 20, 2023 | Positiva

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Breakfast at Tiffany's

Boyce Avenue

Pop - Released April 8, 2022 | 3 Peace Records

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Home

Deep Blue Something

Pop - Released May 30, 1995 | Interscope

The worldview of Todd Pipes, who wrote nine of the 12 songs on Deep Blue Sometbing's debut album, Home (the other three had lyrics by his brother Toby), is that of the educated American twenty-something of the 1990s: referencing art objects from the movie Breakfast at Tiffany's to the paintings of Kandinsky, he and his friends suffer the travails of romance, compromise, and suicide while trying to establish themselves as independent adults. Pipes sets these concerns to a power-pop sound straight out of late-'70s/early-'80s Great Britain (in turn indebted to the Brit rock of 1965), perhaps an odd stylistic choice for a band from Denton, TX, but it's a small world after all, and they find enough hooks to offer a literally upbeat contrast to the youthful uncertainty in the lyrics. Ironically, given the defiantly uncommercial stance put forth on the album-closing "Wouldn't Change a Thing," Home, propelled by the Top Ten success of "Breakfast at Tiffany's," became a substantial hit. (Deep Blue Something released an earlier version of Home on RainMaker Records in October 1994. The Interscope version released in June 1995 contained two fewer songs; three songs had been re-recorded; and the remaining songs had been remixed.)© William Ruhlmann /TiVo
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Diamonds Are Forever

John Barry

Film Soundtracks - Released December 17, 1971 | CAPITOL CATALOG MKT (C92)

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Get a Job

The Greyboy Allstars

Jazz - Released April 1, 2022 | Knowledge Room Recordings

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Green Guitar Blues / Café Pierre Trio

Bucky Pizzarelli

Jazz - Released September 16, 2004 | Audiophile

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Feathers.

Jeanette Lindström

Contemporary Jazz - Released January 1, 2000 | Prophone

Feathers travels a different road than Jeanette Lindström's previous albums. Where earlier releases have her sounding like an Afro-American singer with overtones of Abbey Lincoln and Diane Reeves, her newest is introspective and soft. There is no hint of soul, R&B, or anything resembling an up-tempo pace. This change of rhythms may have something to do with the label. Her earlier recordings were with Caprice, which has featured African/Middle Eastern music. Sweden's Prophone, on the other hand, not only records jazz, but classical as well, and probably is a bit more conservative. It may also have something to do with her fellow performer; Steve Dobrogosz's compositions and recordings are calm and collected as the listener will find out since there are four of his tunes on the 13 tune play list. His songs are also characterized by disconsolate, and in one case, cruel lyrics "So I reached out to rub off its color, break its small body, and pull off its wings" on "Butterfly." Maybe there's an allegory here somewhere. Then there's the not so appealing conclusion that "Love Makes You Suffer." Even tunes that one normally hears played if not in quick, at least in medium tempos, are offered in unusually slow measures. But there are gems here as well. Joni Mitchell's "Both Sides Now" has an ethereal quality about it with Lindström's voice floating above the Mozart sonata-like piano of Dobrogosz. The Andy Williams' monster hit "Moon River" opens with a lengthy Dobrogosz introduction which changes the phrasing and accents of this tune, giving it a much different play than Williams'. The hopeful lyrics are sung with an appropriate feeling of longing. Every now and then, one needs to take down an album from the shelf if for nothing else than as a proper backdrop for quiet times. You could do a lot worse than purchasing this CD for that purpose. © Dave Nathan /TiVo
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Breakfast at Tiffany's

Henry Mancini

Pop - Released October 20, 2022 | RCA Records Label

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Move - The Trumpet as Movie Star

Romain Leleu

Cinema Music - Released October 1, 2021 | harmonia mundi

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Buckshot Lefonque

Buckshot LeFonque

Jazz - Released July 1, 1994 | Columbia

Lots of records are touted as breakthroughs by the hype machines and spinmasters, but this one really is -- a marvelously playful and, above all, musical fusion of the old jazz verities and newer currents swirling around the 1990s. "Buckshot LeFonque" was a pseudonym for Cannonball Adderley in the 1950s, and you'll squint long and hard trying to find Branford's name on the jacket and cover except for the tiny note, "Produced by B. Marsalis." Maybe he was hedging his bets against the expected (and received) flak from the jazz purists, but the reality is that he has found a brilliant way to fuse hip-hop rhythms with mainstream jazz licks without compromising either idiom. The best number is a lovely setting of Maya Angelou's poem "I Know Why the Caged Bird Sings," with absolutely gorgeous soprano by Marsalis, some great Miles-tinged muted trumpet from Roy Hargrove, and Angelou reciting her words against the big electronic backbeat. The free-thinking Branford also injects real funk into Elton John's "Mona Lisas (And Mad Hatters)"; throws in a little reggae, rap, and lots of sampling; gets down and dirty with Kevin Eubanks' slide guitar on the truckin' cut "Some Cow Fonque"; and unifies most of the package with a couple of recurring, catchy riffs and touches of horseplay. The only misfire is a totally incongruous, totally dull soul ballad called "Ain't It Funny" (sung by Tammy Townsend) that sounds as if someone suddenly switched CDs on your changer. Nevertheless, regardless of what the neo-boppers might say, this is a more imaginative record than any of Branford's estimable straight jazz projects -- and a lot more fun.© Richard S. Ginell /TiVo
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Live at the Quick

Béla Fleck And The Flecktones

Jazz - Released January 1, 2001 | Columbia

Anyone who saw the Flecktones in their early days probably told you that it was an amazing experience, and a big part of that praise undoubtedly focused on the group's improvised jams. With Victor Wooten sometimes playing two basses simultaneously and Fleck wandering through the audience picking cosmic banjo lines, their shows were spectacles to be enjoyed for the simple thrill of hearing virtuosos play music that was mind-boggling but somehow utterly accessible. It's sad, then, that the group's live albums, while preserving the energy, have never quite captured the humor of those early shows. Many fans could relay stories of Fleck and Wooten's astounding call-and-response duels, which could incorporate anything from Tchaikovsky to full-throttle bluegrass breakdowns. The rapport was hilarious, and it endeared people to a group who might otherwise go down as whimsical showoffs. However, while the old shows may be legendary, the new ones aren't bad either, and the above isn't meant to say that Live at the Quick is a bad album; actually, there's plenty of stuff that Flecktones fans love, including Wooten's now-trademark arrangement of "Amazing Grace" and a Bach "Prelude" from Fleck's classical music projects. The concert was recorded with the Flecktone Big Band and features guest appearances from Paul McCandless, Andy Narell, Paul Hansen, tabla player Sandip Burman, and Tuvan throat singer Congar ol'Ondar. All that makes Live at the Quick the band's most diverse record yet, and fans of Fleck's post-Acoustic Planet work will be amply rewarded.© Jim Smith /TiVo
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Acoustic Guitar Covers Playlist

Daniel Flowers

Classical - Released December 29, 2019 | Impossible Music