There’s something quietly radical happening in the world of contemporary jazz right now—and it’s coming from a trio who’ve never been afraid to blur the lines. With Built on Bach, the Neil Cowley Trio return not with a straight tribute, but with something far more intriguing: a conversation across centuries with Johann Sebastian Bach.

Not Bach As You Know It

Let’s get one thing straight—Built on Bach is not a jazz reworking of Bach’s greatest hits. Instead, it’s something far more subtle. The trio—Cowley on piano, alongside long-time collaborators Rex Horan and Evan Jenkins—use Bach’s music as a starting point, not a blueprint.

Think of it less as reinterpretation and more as absorption. Bach isn’t quoted so much as he’s felt, embedded deep within the harmonic DNA of the compositions.

And that’s exactly the point.

A Spark in Leipzig

The origins of the project are as poetic as the music itself. Cowley has spoken about a chance moment in Leipzig, where he unexpectedly found himself standing at Bach’s grave—a moment that triggered a flood of musical reflection and ultimately inspired the project.

From that spark came a collection of pieces that imagine—without ever stating outright—what might happen if Bach sat in on a modern piano trio session.

The Sound: Intimate, Inventive, Unmistakably Cowley

Longtime fans might notice a shift here. The trio, known for their explosive crescendos and rhythmic intensity, dial things back slightly on Built on Bach. In its place: precision, space, and a more reverential tone—without sacrificing the emotional punch.

Tracks like “Sales Technique” and “John Wayne” still carry the group’s signature interplay, but there’s a new lightness—almost as if the music is breathing differently.

It’s jazz that nods to the Baroque without ever becoming pastiche.

A Trio Still at the Top of Their Game

Since forming in the mid-2000s, the Neil Cowley Trio have carved out a unique space in UK jazz—melding classical training, groove-driven energy, and a flair for melody.

After a hiatus and a recent return with Entity (2024), Built on Bach feels like both a continuation and a detour: a companion piece that reinforces just how adaptable—and inventive—this trio remains.

More Than a Tribute

Ultimately, Built on Bach succeeds because it refuses to be obvious. It doesn’t lean on nostalgia or name recognition. Instead, it asks a more interesting question:

What does Bach sound like after he’s been filtered through decades of jazz, improvisation, and modern composition?

The answer, as it turns out, is something quietly beautiful—and unmistakably alive.