Your basket is empty

Categories :

Similar artists

Albums

CD$11.99

Jazz - Released February 2, 1993 | Enja Horst Weber

Distinctions The Qobuz Standard
This summit meeting between Niels-Henning Ørsted Pederson, one of the most widely recorded and universally respected bassists in jazz history, and guitarist Philip Catherine, an almost equally revered guitarist and perhaps the foremost keeper of Django Reinhardt's gypsy-jazz flame in his generation, should have been a much more exciting one that it turns out to be. Recorded live in a jazz club in Lausanne, Switzerland, it is unfortunately a fairly tame affair, its highlights hidden behind poor production. (The recording level is so low that you have to crank your stereo up to a painful level just to hear in detail what is going on.) Interestingly, some of the best moments on this album are the bass solos, among them Pederson's dancing choruses on "Stella by Starlight" and on his own knotty composition "The Puzzle". Catherine's playing sounds conservative, almost tentative, and the proceedings rarely catch fire. Notable exceptions include the duo's interplay on "The Puzzle" and on a blazing rendition of the Jerome Kern standard "All the Things You Are". It's by no means a waste of time, but Art of the Duo is also far from the best introduction to the work of either of these fine musicians. © Rick Anderson /TiVo
CD$11.99

Jazz - Released June 7, 2019 | Yellowbird Records

HI-RES$15.49
CD$11.99

Jazz - Released January 17, 2014 | ACT Music

Hi-Res
CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

Of British and Belgian ancestry, Philip Catherine has time and time again proven himself one of Europe’s (and the world’s) finest jazz guitarists. Hyperbole? Not when one considers his track record, playing and recording with none other than jazz icons Charles Mingus, Stephane Grappelli, Dexter Gordon, and Larry Coryell. Catherine has excelled in acoustic and electric contexts, playing swing, bebop, and fusion. GUITARS TWO is a collection of short, straight-ahead pieces where Catherine tips his hat to his roots, namely, the swinging styles of Grappelli and Django Reinhart. It features lots of swing and genial flair, more than enough to keep the tradition-minded jazz fan happy. © TiVo
CD$6.99

Jazz - Released August 16, 2012 | Igloo Jazz Classics

CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

Belgian guitarist Catherine has had an erratic recording career, bouncing between fusion, rock, and jazz, but his enormous talent has never been in question. This CD probably brings his abilities into clearer focus than previous ones, buoyed by keyboardist Jim Beard, electric bass guitarist Alphonso Johnson, and drummer Rodney Holmes. Catherine wrote all but one of these thirteen cuts, a nice take of the classic ballad "Stardust" with Black on Fender Rhodes. The best tracks are in the front half of the recording. "Merci Afrique" has a groovy beat with ultra-bright chords from Catherine's spare guitar and piano and is a great tune. A chord laden melody on "Sunset Shuffle" is a swing-rock amalgam. Inventive bass/guitar unison on the easy swing of the title track with Wes Montgomery-like chords and a darker ballad, "For Wayne and Joe," are dedicated to Messrs. Shorter & Zawinul, big influences on Catherine in the '70s and through the '90s. As a matter of fact, this rhythm section is Shorter's. There are four sambas; moody, introspective, heavy unison staccato accents inform "Good Morning Bill," while deliberate but breezy dynamics center guitar and piano crisscrossing during "Hello George." A reverential poppish mode sets up "To My Sister," and "Blue Bells" is slow but highly melodic. Four others are pretty tunes. The Rhodes-driven "Chinese Lamp" is Christmasy, "Here and Now" is meditational, and, on acoustic guitar, "Nuances" (not Django Reinhardt's) is a power ballad, while "Simply" is stated sweetly with distinction. Some day Catherine will release the out-and-out jazz recording the world knows he is capable of. This one comes very close. © Michael G. Nastos /TiVo
CD$9.99

Jazz - Released January 1, 1988 | September

CD$8.49

Jazz - Released September 25, 2015 | ACT Music

Booklet
CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

Philip Catherine has had a distinguished career, and Blue Prince captures him in fine form. Stylistically, the album covers a lot of ground, and Catherine seems equally comfortable playing the fusion-oriented "Coffee Groove" or the more swinging "With a Song in My Heart." He is joined by a talented supporting cast, including trumpeter Bert Joris, bassist Hein Van de Geyn, and drummer Hans Van Oosterhout. Things get started with "Coffee Groove," featuring dazzling guitar runs and a driving rhythm that may remind some of the early work of King Crimson. Joris makes his presence known quickly, with carefully chosen, though rapidly delivered, notes. His tone is similar to that of Miles Davis, though his style is all his own. "Global Warming" slows the pace while continuing in a fusion vein. These instrumentals, along with others like "More Bells," have a wonderful sound that is open and atmospheric. Other tunes like "The Postman" and "The Creeper" find Catherine in a much more bopish mood. He never overplays, and doesn't have the need to prove himself by completing lightning runs. Instead, he tastefully diversifies each solo and leaves plenty of room for the supporting players. Joris' trumpet is a perfect counterpoint to Catherine's guitar, and the rhythm section always holds up its end. Catherine has written a number of diverse tunes for Blue Prince, and it's refreshing that he doesn't feel the need to keep everything stylistically the same. For his fans, and for those who love great jazz guitar, Blue Prince shouldn't be missed. © Ronnie D. Lankford, Jr. /TiVo
CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

Philip Catherine is an eclectic guitarist, comfortable within tradition, but just as comfortable fusing tradition with newer elements. On Meeting Colours, he's joined by quite a large orchestra to interpret ten of his pieces (two compositions receive more than one treatment) and Duke Ellington's "In a Sentimental Mood." The multiple flutes and saxophones create a big sound that ranges from grand to silky smooth, working in tandem with Catherine and trumpeter Bert Joris' leads. The large assembly also leaves ample room for subtly complex arrangements with trombones, trumpets, and clarinets. Catherine's compositions also offer intriguing nuances, as with the opening of "Happy Tears," allowing for changes in tempo and mood. The performance of compositions like "Pink Circus" and "On the Ground" are tastefully subdued, and Catherine's lead work weaves smoothly into the overall structure. The only complaint a fan might have is that the album, especially through the first half, is very mellow and, though well conceived, not too surprising. A second version of "December 26th (In Tempo)" pinpoints the problem, when it allows -- as few other pieces on the album do -- Catherine a chance to really cut loose on his guitar. Other pieces, like "The Hostage," are interesting in places, but leave one wishing for more fireworks. Overall, Meeting Colours is stylishly conceived and executed, but perhaps too low-key, relaxed, and safe for its own good. © Ronnie D. Lankford, Jr. /TiVo
CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

Guitarist Philip Catherine, once dubbed "Young Django" by Charles Mingus, shows several facets of his playing on this studio recording. Alternating between trio numbers with bassist Philippe Aerts and drummer Joost van Schaik and a quartet adding trumpeter and flügehornist Bert Joris, Catherine divides his set between standards and originals. His somewhat subdued interpretation of "'Round Midnight" sparkles with inspired runs inserted at key points; "Laura" adds a disguised introduction to a very upbeat arrangement. Catherine's writing style is diverse; "Tiger Groove" emphasizes a rock flavor that pales only slightly during his unison lines with Joris; while the ballad "Letter From My Mother" is considerably more subdued and lyrical. "Francis' Delight" is a swirling post-bop line, though the waltz "Le Jardin de Madi" (written in honor of his wife) may be the most accessible of his compositions to new listeners. This enjoyable effort is heartily recommended. © Ken Dryden /TiVo
CD$12.99

Jazz - Released July 30, 2012 | Dreyfus Jazz

CD$9.99

Jazz - Released April 1, 2009 | INAKUSTIK