JON LORD - Windows Continuo on Bach 12" Vinyl LP

In 1974, while the rock world was still riding the wave of bombastic excess, Jon Lord, the keyboard maestro of Deep Purple, embarked on a curious detour. He unveiled "Windows," an album recorded live during the Eurovision presentation of Prix Jeunesse on Saturday, June 1st, 1974, at the Herkulessaal of Munich Residenz of the Munich Chamber Opera, conducted by Eberhard Schoener. This unique setting provided a grand stage for Lord's daring experiment, bridging the seemingly unbridgeable gap between baroque classical music and hard-driving rock 'n' roll.

"Windows" is not your typical rock record. It's a musical dialogue, a conversation between two seemingly disparate worlds. On one side, you have the timeless compositions of Johann Sebastian Bach, the towering figure of baroque music. On the other, you have Lord's own fiery organ playing, backed by a full orchestra and a rock rhythm section. It's a collision of cultures, a clash of styles that somehow manages to coalesce into a harmonious whole.

The album opens with "Air on the G String," a Bach classic reimagined with a rock 'n' roll swagger. Lord's organ takes center stage, soaring above the strings and percussion with a raw, unbridled energy. It's a bold statement of intent, a declaration that this is not going to be your stuffy classical music recital. This track, in particular, became a fan favorite, showcasing the potential of blending classical melodies with rock instrumentation.

From there, the album delves deeper into Bach's catalog, exploring a range of compositions, from the playful "Jesu, Joy of Man's Desiring" to the majestic "Toccata and Fugue in D Minor," another track that resonated with audiences due to its dramatic and recognizable melody. Each piece is given a unique rock 'n' roll makeover, with Lord's organ adding a layer of grit and intensity to Bach's intricate melodies.

But "Windows" is not just about reinterpreting Bach's music. It's also about creating something new, something that transcends genre boundaries. Lord's own compositions, such as the hauntingly beautiful "Passacaglia" and the energetic "Continuo on G," seamlessly blend with Bach's work, creating a cohesive whole that is both familiar and fresh. These tracks, often overlooked, are now gaining recognition for their innovative approach to composition and their contribution to the album's overall sonic landscape.

The involvement of the prestigious Munich Chamber Opera and the renowned conductor Eberhard Schoener added a layer of legitimacy and gravitas to the project. Lord assembled a crack team of musicians, including the likes of David Coverdale on vocals, Glenn Hughes on bass, and Tony Ashton on keyboards. The production, helmed by Lord himself, is pristine, capturing the raw energy of the live performance while maintaining the clarity and precision of the orchestral arrangements. The involvement of these renowned musicians, particularly Coverdale and Hughes, who would later achieve fame with Deep Purple and other rock bands, added to the album's allure and cross-genre appeal.

"Windows" was not without its controversies. Some purists balked at the idea of tampering with Bach's sacred compositions, while others questioned the legitimacy of fusing classical and rock music. But Lord remained undeterred, confident in his artistic vision and his ability to create something truly unique. This controversy, while initially a point of contention, ultimately fueled interest in the album and sparked discussions about the boundaries of musical genres.