"Let's Call the Whole Thing Off" is a performance of the George Gershwin standard from Harry Connick Jr.'s 1989 soundtrack album When Harry Met Sally..., featuring solos from Connick on piano and Ben Wolfe on acoustic bass. Connick's single-chorus piano solo over the 32-bar AABA form in F at 130 beats per minute displays his characteristic blend of rhythmic playfulness and harmonic sophistication, his improvisation drawing on the rich tradition of jazz piano that extends from stride masters like James P. Johnson through the bebop innovations of Bud Powell. Wolfe's half-chorus bass solo provides a melodic counterpoint, his warm tone and lyrical phrasing demonstrating the kind of musical sensitivity that would later make him one of the most respected bassists and composers in jazz. The Gershwin classic, with its witty lyrics about pronunciation differences, is one of the most cleverly constructed songs in the American popular canon, and the instrumental trio treatment allows the inherent musical qualities of the composition to shine without the distraction of the comic vocal. The track exemplifies the intimate, swinging trio format that Connick favored throughout much of the When Harry Met Sally... sessions, a setting that showcased his jazz piano abilities while creating the warm, romantic atmosphere that the film's score required.
