John Lewis, piano
Howard Collins, guitar
Marc Johnson, bass
Robert Dan, viola (2,10)
Anahid Ajemian, violin (2,6,8,12,14)

1 Prelude No.12 03:52
2 Fugue No.12 08:04 jump to: 3:53
3 Prelude No.14 01:53 jump to: 12:05
4 Fugue No.14 04:20 jump to: 14:00
5 Prelude No.17 02:17 jump to: 18:35
6 Fugue No.17 03:39 jump to: 21:00
7 Prelude No.18 02:49 jump to: 24:25
8 Fugue No.18 03:34 jump to: 27:30
9 Prelude No.20 02:15 jump to: 31:15
10 Fugue No.20 07:08 jump to: 33:25
11 Prelude No.23 03:03 jump to: 40:45
12 Fugue No.23 04:23 jump to: 43:45
13 Prelude No.24 07:19 jump to: 48:12
14 Fugue No.24 08:22 jump to: 55:42

Classical and known composition of course, but this is not classical music. This is jazz, or may be better to call it third stream, a cross-over between classical music and jazz. Jazzing the classics is something that has been done many times but it's really amazing how Lewis built his astonishing rendition around, and inside, the Well Tempered Clavier. He subtitled the work « The Bridge Game ». The most disconcerting version I ever heard. Much better than the K. Jarret's ridiculous one using a harpsichord. I don't really care about J. Pareles ( N.Y. Times) sending flowers to Jarret ( the media darling) and trying to destroy Lewis' work. For my own taste, this is a stylish and technical exploit. Just sayin'.