The Fox can be regarded as one of Schifrin's most experimental compositions, particularly in the way it blends elements of various origins, mixed into a wonderful musical tapestry, which manages to stay both effective and subdued. Actually, this album could be considered as a sort of follow-up to Schifrin's 1966 "Marquis de Sade" tribute where he had successfully tried to translate classical and baroque music into contemporary jazz. Cues like "Minuet in C," "Fox Variation," and most of all "Dead Leaf," seem to go after similar purposes, on a more somber tone, but with the equivalent musical invention. - Nicholas Saada