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    This was one of Mancini's best scores for that time frame that wasn't associated with a comedy and showed maturity and also showed that he was extremely adept in scoring any genre of film.” –Examiner on Hank’s work on the “Charade” soundtrack.
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    Why was Henry so effective?“Audiences viewed the movies and then consumed the soundtracks that blended pop-tunes, jazz, and refined orchestral compositions. However, they also responded to the sincerity and earnestness of Mancini’s work.” –PopMatters, 2012
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    “One thing I do always try to inject is the personality of the musician. I try to get what he can do best. And this, of course, is the essence of the jazz band—you know, the old days when the guys used to write pieces around various soloists, like Duke did for years.” –Henry Mancini
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    The Great Mouse Detective hit theaters this month in 1986. (We'd take it any day over ‪#‎Pixels‬. - Team Hank). Who remembers Hank's incredible score?
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    √‪#‎FunFact‬: Mancini used two detuned pianos, one a quarter-tone lower than the other, to establish a menacing tone in “Wait Until Dark.” One piano would a play a chord and the other would play the next chord to capture the Audrey Hepburn's sense of disillusionment.
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    “The engagement was very successful. By the end of it, I was thinking, 'Hey, I like this, I like presenting the music directly to the people.' Obviously I had been bitten by the bug.” –Hank on completing his first week live in concert, 1961.
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    “…I don't have any backlog of ideas. It's just that what I do is suggested by what's on the screen. I always try to get different, more oblique sounds that have a particular effect in a film sequence. My opening Breakfast at Tiffany's with sustained strings, voices and harmonica—and no brass—is a case in point.” - Henry Mancini
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    “You find that with all top arrangers and composers of popular music and jazz, one thing they have in common is their directness, their ability to un-clutter, to take out things that have no place.” –Henry speaking with Jazz Professional in 1974. ‪#‎Advice‬
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    “That Mancini’s output paralleled its own times is not surprising. He meticulously studied all the trends and vogues in music and the recording industry around him so as to be prepared for any kind of film score assignment that might come along.” –“Henry Mancini: Reinventing Film Music” by John Caps.
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    “That one has been my favorite throughout the years. When I first heard it, I took it is as my favorite one that he wrote. I love singing it, and I love being able to do something different with it.” –Monica Mancini speaking about “Days Of Wine And Roses”
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    “On Peter Gunn we had four trombones, trumpet, four woodwinds and rhythm-which by picture standards is very small. But it filled out the screen pretty well. This is when I started using the bass flutes. We didn't have strings. For the suspense element or for the very eerie things it worked out better.” –Hank speaking with Jazz Professional in 1963.
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    “They were both goofy people who had really wacky senses of humor, and I think that's why they had such a great working relationship, because Blake Edwards didn't really have to tell him what to do, dad figured it out.” – Monica Mancini on Hank’s long term friendship with Blake Edwards. Huffington Post, 2014.
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    Trivia: Who knows the name of the first song Hank submitted to ASCAP to become a member of the PRO?
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    "I listen to Henry Mancini for relaxation. We're constantly working with R&B, and a lot of times we have to flush our brains. It helps me a lot by listening to Mancini."-Dave Porter of Sam & Dave
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    "We're after the same rainbow's end, waiting, round the bend My Huckleberry Friend, Moon River, and me.” –“Moon River”, featured on the “Breakfast At Tiffany’s" soundtrack, was released this week in 1961. The Breakfast at Tiffany’s soundtrack is also featured in “The Classic Soundtrack Collection” out Nov. 18th. Pre-order here: [bit.ly/HMClassics#MoonRiverMonday|mysp.ac/S3vV]
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