No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.
Great thriller soundtracks back to back on one CD – the soundtracks for both French Connection films, both handled by funky jazzman Don Ellis – plus the even rarer score for the later Popeye Doyle film, by Brad Fiedel – packaged here with other rare bonus tracks too! The music by Don Ellis is really incredible – a real cut above other 70s cop and action soundtracks, with a dark edge that shows that Ellis had been listening to some of the hipper European soundtrack composers of the time, but was still also cool enough to kick in with a badass kind of groove whenever he could! The instrumentation on the tunes is very odd – familiar, yet askew – as trumpet, guitar, and keyboard bits come off with some very weird effects. The sound of Popeye Doyle is a bit different – given that the film was an 80s TV addition to the French Connection narrative – with Ed O'Neil in the lead role that was previously handled by Gene Hackman. But Brad Fiedel's score is still pretty nice – definitely more 80s in its instrumentation, but handled with a mode that echoes the Ellis years, with the flavor of a decade later. This 2CD package has way more material than the previous issue – with a total of 48 tracks from the first two films – and 29 more from Popeye Doyle – a whopping 77 tracks in all, with some great notes too!
Things had hit their nadir for Taylor at Columbia with this 1979 release. The horrible title notwithstanding, there was simply nothing on the album that you'd ever want to hear twice, and it was a struggle to get through much of it once. Unconvincing dance-pop and light filler, decently sung but otherwise routine third-rate soul songs, and a general vapidness weighed this album down and made Taylor's fans almost organize to free him from Columbia.