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Artists: Philip Catherine
Album: Guitars
Label: Atlantic (50193)
Year: 1975
Genre: Jazz, Guitar, Fusion, Instrumental
Time: 39:30
Format: FLAC
Size: ~186 MB incl. 3 % recovery (2 files)

“Guitars” is dedicated to Miles Davis, and much of the music here is reminiscent of Mingus. “an intricately constructed, fusion-tinged session featuring multiple guitar overdubs and accompaniment by bassist John Lee and drummer Gerry Brown. (Alto saxophonist Charlie Mariano, a regular Catherine collaborator over several decades, also contributes on several tracks.)”  Andrew Gilbert, JazzTimes, Inc.

It’s not that Philip Catherine feels misunderstood, underappreciated or neglected by the American jazz scene. [...] What irks Catherine is that the work he feels best represents his musical vision is largely unknown and unheard. “My first four records, September Man, Guitars, Babel and End of August, are my most personal albums, and nobody knows them,” says Catherine, 67, from his home in Brussels. “They’ve been hidden for too long. I have a legal advisor and I’m trying to find a way to have them come out again.” Catherine’s recording activities in 1975 exemplify the way in which sessions under his own name have faded from view, while his superlative sideman work continues to win him new fans. It was the year he recorded Guitars, an intricately constructed, fusion-tinged session featuring multiple guitar overdubs and accompaniment by bassist John Lee and drummer Gerry Brown. (Alto saxophonist Charlie Mariano, a regular Catherine collaborator over several decades, also contributes on several tracks.) Focusing on Catherine’s original compositions, the album is unlike anything else from the era, with its quiet but roiling drama and sly, lapidary textures. The same year, he appeared on several memorable SteepleChase albums, including Kenny Drew’s Morning with Niels-Henning Ørsted Pedersen, and Dexter Gordon’s Something Different with Pedersen and Billy Higgins, a fascinating addition to the saxophonist’s discography as his only piano-less quartet session. Through the rest of the decade, he released a series of strangely beautiful albums under his own name, melodically charged sessions that defied easy categorization as fusion or straight-ahead. At the same time he was recording regularly for SteepleChase, contributing his marvelously poised and rhythmically assertive work alongside Drew, Pedersen, Higgins, Sam Jones and Tootie Heath. “That was one aspect of my music, making albums for SteepleChase, but it wasn’t at all what I was trying to do,” Catherine says. “I was doing Guitars, but it’s disappeared, and everyone knows SteepleChase.
Extracts from “Philip Catherine: Overdue Ovation - A European legend seeks trans-Atlantic love” (July/August 2010 by/© Andrew Gilbert © 1999–2010 JazzTimes, Inc.)

The Music:
01 - We’ll Find a Way (John Lee) 05:04
02 - Five Thousand Policemen (Philip Catherine) 01:58
03 - Sneezing Bull (Philip Catherine) 07:05
04 - Rene Thomas (Philip Catherine) 04:43
05 - Moss and Weeds (Philip Catherine) 01:15
06 - Homecomings (Philip Catherine) 05:43
07 - Charlotte (Charlie Mariano) 03:52
08 - Noburl (Philip Catherine) 08:05
09 - Isabelle (Philip Catherine) 01:45

The Players:
* Philip Catherine - electric guitar, acoustic guitar, classical guitar, banjo, electric bass, piano, tarang, 12 string guitar
* Charlie Mariano - soprano saxophone, alto saxophone
* Jasper Van’t Hof - piano
* John Lee - bass
* Gerry Brown - drums
* Rob Franken - string ensemble

Produced by Marc Moulin
Executive Producer: Bernard de Bosson
Recorded at Morgan Studios, Brussels, except
“We’ll Find A Way” recorded at Dureco Studio, Holland and
“Homecomings” recorded at Leponce Studio, Brussels
Mixed at Morgan Studios, August/September 1975
Engineers: Alan Ward assisted by Philippe Delire (Morgan)
Emile Elsen (Dureco), Paul Leponce (Leponce)