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Second only to Kind of Blue by Miles and Jazz Samba by Stan Getz, as the most commercially successful jazz record of all time (it even contained a single for the pop charts, Paul Desmond's magnificent Take Five'), Brubeck brilliantly popularised jazz and offered it as a palatable alternative to Bobby Vee

In 1958 Random House published Breakfast At Tiffany’s, a novella by Truman Capote regarding the exploits of a young writer who makes the acquaintance of a remarkable, free-style living neighbour named Holly Golightly. When Blake Edwards opted to film the story, Henry Mancini was brought in to provide a soundtrack for the film. He then approached lyricist Johnny Mercer about providing the lyrics.

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What We Say / What We Do is nothing short of a triumph, it will make you dance, you will play it on repeat, and after every couple of listens your favourite song will change, just like a good record should, right? And this is a great record. The synths on The Unknown dance around a creeping rhyth...

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Sometimes a musical message is so urgent that questions of recording quality are almost beside the point. Informally recorded in 1969 in a noisy club – Copenhagen’s famous Jazzhus Montmartre – the flavour of this album is ‘documentary’ rather than luxuriantly hi-fidelity, yet the essence of Abdullah Ibrahim’s communication comes through loud and clear.

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Two years after the Dave Brubeck Quartet’s ground- and time-signature breaking Time Out (1959), this classic quartet (Brubeck, piano, Paul Desmond, alto sax, Eugene Wright, bass, and Joe Morello, drums) would continue its jazz experiments in a series that was often inspired by abstract paintings. Time Further Out: Miró Reflections was the group’s attempt at a “jazz interpretation” of Miró’s 1925, a visually kinetic work featuring a prominent string of numerals descending from the upper edge of the canvas.

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