FOREWORD As a preface, it should be noted that "The Bach Stops Here" is a re-release on CD of many of the tracks on the album recorded by George Fields nearly 30 years ago, marketed by Angel (Capitol Records) with the title, "The Pocket Bach". However there is a special bonus included with this new album, in that it includes many tracks that were previously unreleased, due to space limitations of the LP record format. George wishes all to know he is retired, no longer performing, and living in Palm Springs, California. However he is not idle - he and his very dear friend Lenny Schwartz from Minevitch / Cappy Barra days get together frequently to keep their chops up playing duets. The liner notes on the Angel record are therefore out-dated in some respects; however, the details of the recording, as written by Rory Guy, are accurate, and should be read to understand the background of the recording, and George's love of the instrument and the music. For those unaware, the Angel label is the classical music division of Capitol Records. The original album was well received, but did not remain in their catalog for as long a period as it deserved, so soon became a collector's item - especially among harmonica aficionados. George had been considering a CD reissue for the past few years, and finally decided it was time, especially due to the fact there were many tracks that had never been previously released. So, I am pleased and proud to say: Here it is! Enjoy it even more than before, in its digital excellence! - Danny Wilson

INTRODUCTION by GEORGE FIELDS There are those “purists” who will raise appalled eyebrows at a treatment of Bach’s music such as this. What would old Johann say could he but hear some of his masterpieces subjected to the wheezing brass reeds of the lowly harmonica; an instrument obviously meant for simple folktunes around a smoldering campfire? Would he be outraged, smugly tolerant, or pleasantly surprised? We can never be sure, admittedly, but the chances are excellent that he would nod his head in assent if the musical values were carefully adhered to, so that the spirit and essence of the baroque flavor emerged in a contemporary guise. Bach might even agree that an instrument of the masses, such as the mouth organ, might just make a bit of his music a little more accessible to some of those masses. Who can tell? He might even be prompted to dash off a little gavotte or bouree for harmonica . . . This collection of interpretations was the result of many years of frustration at the lack of suitable material for the harmonicist with a bent for classical music. While in recent years a few serious composers have written concert pieces for the harmonica - Villa-Lobos, Vaughan Williams, Milhaud, to name a few - there is nothing at all from the Baroque through the Romantic periods written for the instrument, for the simple reason that the harmonica did not exist in its present chromatic form until this century, and in Bach’s time, not at all. Musicologists have long contended that Bach’s music is so pure and architecturally well structured that it transcends all restrictions on tone color and performance. This music virtually begs to be executed, and even if the performer elects to interpret with a tin whistle or kazoo, Bach’s music will still survive unscathed if that interpretation maintains valid parameters of good taste and precision. Witness the multitude of transcriptions for guitar, piano, symphonic and concert bands, synthesizers, scat singers, Japanese kotos, and what have you. Why not harmonica?