Ask Dave Brubeck who his favourite composer is and the answer always comes back: “Bach”. This 2004 concert makes explicit the spiritual kinship between Papas Bach and Brubeck. The set opens with a fine performance of Bach’s Concerto for Two Pianos, BWV1060, with Anthony and Joseph Paratore responding positively to Russell Gloyd’s driving tempi. The Paratore brothers have recorded the two-piano version of Brubeck’s ballet score Points on Jazz before, but this version with orchestral accompaniment is a reminder of how ingenious Brubeck’s material is. A Prelude rich in references to Bach and Chopin becomes the basis for a dazzling set of variations – a swinging blues one moment, a highly creative fugue next – every note distilled through Brubeck’s fertile imagination.

When the Brubeck Quartet joins the Bach Collegium Munich post-interval, its leader is in abundant and puckish mood. His solo on St Louis Blues shifts from sinewy linear contours to monumental block chords. He peaks with Herculean double-time stride piano and on the next track, his classic Unsquare Dance, bitonal re-harmonisations from the direction of the piano radically overhaul the original concept. The next three pieces bring the Bach theme back into focus. Brandenburg Gate, Revisited is a niftyre-imagining of a Brandenburg Concerto for jazz group and orchestra, while the through-composed string piece Regret and the beguiling Lullaby spin gloriously complex structures from clear harmonic outlines – JSB would have approved for sure. And, if you’re wondering what Brubeck can still find to say about Take Five, check out this new version. His thorny solo is brazenly audacious. Brubeck’s bite is still great. Just like his Bach.