Philip Catherine - September Sky

Styles: Guitar Jazz 
Year: 1988
File: MP3@320K/s
Time: 65:12
Size: 150,2 MB
Art: Front

(4:27)  1. September Sky
(7:16)  2. Body And Soul
(5:14)  3. Randy Moon
(8:26)  4. Girl Talk
(6:50)  5. Stella By Starlight
(6:51)  6. Adriano
(5:49)  7. My Serenade
(5:28)  8. Changemant D' Avis
(6:58)  9. My Foolish Heart
(7:49) 10. All Blues

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others.  Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums.

 Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others. During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove.  In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels.
Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography

Personnel: Guitar – Philip Catherine; Bass – Hein Van de Geyn; Drums – Aldo Romano

September Sky

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Philip Catherine - End Of August

Styles: Guitar Jazz
Year: 1982
File: MP3@320K/s
Time: 38:02
Size: 88,3 MB
Art: Front

(5:12)  1. Petit Nicolas
(5:09)  2. Grand Nicolas
(9:26)  3. Janet
(6:17)  4. September Start
(4:57)  5. Goodbye
(2:53)  6. Birth Of August
(3:14)  7. End Of August
(0:50)  8. Presque

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. 

After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others. During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. 

Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. ~ Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography

Featuring: Philip Catherine (guitar), Trilok Gurtu (percussions), Charlie Mariano (saxophone), Toots Thielemans (harmonica), Nicolas Fiszman (bass) & electric

End Of August

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Aldo Romano - Alma Latina

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 39:35
Size: 91,6 MB
Art: Front

(3:36)  1. Roanugo
(4:54)  2. Santa Maria Novella
(5:05)  3. C'Era Una Volta
(3:38)  4. Tastière
(1:49)  5. Cadenza
(1:09)  6. Una Volta Dany
(4:44)  7. Amalgame
(5:09)  8. Alma Latina
(5:10)  9. 6 Million Dollars Song
(4:14) 10. La Dernière Chanson

A record seems to mark a milestone in the career of drummer Aldo Romano. This is the one he recorded in duet, in Italy, with the bassist Jean-François Jenny-Clark, that is to say Il Piacere , musical illustration of the world of Pavese and the Latin of the musician more obvious than ever. It was in 1979, that is to say a year at the same time as the one where he integrated the French label Owl managed by Jean-Jacques Pussiau. Therefore, his records will take, at least for a few years, a less specifically jazz turn (he will return) as on Night Diary or Alma Latina . His friends are at his side (Jenny-Clark, Bartholomew, Portal, Lockwood, Jasper Van't Hoff), while here, it is his old guitarist partner Philippe Catherine and young musicians he discovered who second him , including Benoît Wideman and Jean-Pierre Fouquey. 

There, there are no traces of free jazz practiced during the years of learning with Gato Barbieri and Don Cherry. The binary rhythms have been integrated. And, above all, the composer reveals himself progressively. ~ Hervé Comte http://www.letriton.com/artistes/albums/album-alma-latina-763

Personnel: Aldo Romano battery, Philip Catherine electric guitar; Gilles Perrin percussion; Sylvain Marc electric bass, choirs; Estelle Goubert acoustic and electric piano; Jean-Pierre Fouquey acoustic and electric piano; Dany Kane harmonica; Maurizio Giammarco tenor saxophone; Benoît Widemann synthesizer, electric piano

Alma Latina

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Philip Catherine - Blue Prince

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 64:33
Size: 149,1 MB
Art: Front

(3:34)  1. Coffee Groove
(5:03)  2. Global Warming
(3:50)  3. With a Song in My Heart
(7:42)  4. The Creeper
(5:39)  5. The Postman
(6:35)  6. More Bells
(4:22)  7. Memories of You
(6:02)  8. Kwa Heri
(4:10)  9. Blue Prince
(6:32) 10. Arthur Rainbow
(6:18) 11. Magic Box
(4:38) 12. Sweet Lorraine

Belgian guitarist Philip Catherine has performed with the creme de la creme of modern jazz and fusion. Noticeably inspired by the late great Django Rheinhardt, Catherine has emerged as a true stylist who melds lush romanticism with bold, simmering lines, witnessed here on Blue Prince. The guitarist utilizes his warm-toned hollow bodied electric guitar to great effect via shrewd employment of volume control techniques, jazzy chord progressions and scathing leads, evidenced on the often blistering yet predominately cool and sleek Bop-ish burner, “Coffee Groove”. Trumpeter Bert Joris proves to be a near perfect foil for Catherine, as the twosome frequently engage in brisk unison choruses, while also trading sprightly fours during this groove-laden set primarily consisting of medium tempo swing motifs. The band turns in a peppery walking blues, titled “The Creeper” and continues along with a series of pieces featuring amicable melodies and sonorous themes amid sympathetic accompaniment by the rhythm section. On, “Blue Prince” Joris articulates Chet Baker-style, understated lyricism as everyone gets a spot to exhibit their wares, yet a few more accelerated or rapidly paced pieces tossed into the mix might have elevated the excitement factor a few notches. Otherwise, Blue Prince is a solid and expertly executed effort, as Catherine implicitly illustrates why he is one of the finest guitarists on the globe. ~ Glenn Astarita https://www.allaboutjazz.com/blue-prince-philip-catherine-dreyfus-records-review-by-glenn-astarita.php

Personnel: Philip Catherine; guitars: Bert Joris; trumpet, bugle: Hein Van de Geyn; double bass: Hans Van Oosterhout; drums

Blue Prince

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Philip Catherine - I Remember You

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 60:06
Size: 138,1 MB
Art: Front

( 6:16)  1. Nardis
(11:05)  2. Twice A Week
( 6:01)  3. I Remember You
( 7:35)  4. Soul Role
( 5:49)  5. From This Time, From That Time
( 3:56)  6. Songflower
( 7:57)  7. Funk In Deepfreeze
( 6:09)  8. My Funny Valentine
( 5:14)  9. Blues For G.T.

A wonderfully sparse and subtle offering from guitarist Philip Catherine, featuring Tom Harrell on flügelhorn and Hein Van de Geyn on bass. This drumless trio pays memorial tribute to Chet Baker with a tranquil, melancholy set of standards and originals, beginning with Miles Davis' "Nardis" and continuing with an extended Catherine original titled "Twice a Week." The set also includes a swinging "I Remember You," a mid-tempo "My Funny Valentine," and a nod to hard bop with Hank Mobley's "Funk in Deepfreeze." Harrell contributes two originals, "From This Time, From That Time" and "Songflower," while Van de Geyn weighs in with a dark waltz, "Soul Role." 

Catherine closes the album with his own angular, altered "Blues for G.T." Catherine's bright, twangy sound and tasteful use of vibrato, harmonics, octave leaps, and volume and chorus effects distinguish him from many other straight-ahead jazz guitarists. Van de Geyn proves himself to be not only an excellent timekeeper, but also a conversational ensemble player. And this stripped-down setting especially flatters the velvety, lyrical brilliance of Tom Harrell. ~ David R.Adler https://www.allmusic.com/album/i-remember-you-mw0000278490

Personnel:  Guitar – Philip Catherine;   Flugelhorn – Tom Harrell;   Bass – Hein Van de Geyn

I Remember You

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Philip Catherine - Babel

Styles: Guitar
Year: 1980
File: MP3@320K/s
Time: 36:01
Size: 82,7 MB
Art: Front

(6:19)  1. Babel
(6:14)  2. Janet
(4:53)  3. Riverbop
(5:05)  4. Spirale
(5:52)  5. Philip a Paris
(4:01)  6. Magic Ring
(3:34)  7. Dinner-Jacket

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others.  Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others. During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. 

There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography

Personnel:  - Philip Catherine - guitars, guitar synthesiser, vocoder;   Jean Claude Petit - Keyboards and synthesisers;  Andre Ceccarelli - drums and percussions;  Jannick Top - electric bass
String Quartet:  Pierre-Yves Defayes (violin);  Roger Berthier (violin);  Pierre Llinares (viola);  Hervé Derrien (cello) with: The Voices of Isabelle and Janet Catherine

Babel

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Philip Catherine, Martin Wind - New Folks

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[5:49] 1. Old Folks
[4:18] 2. Fried Bananas
[3:51] 3. Hello George (For G. Shearing)
[3:51] 4. Blues In The Closet
[4:12] 5. How Deep Is The Ocean
[2:51] 6. Jenny Wren
[6:05] 7. Song For D
[4:36] 8. Sublime
[2:38] 9. Pivoine
[5:34] 10. L'eternel Desir
[4:59] 11. Standing At The Window Waving Goodbye
[2:47] 12. Toscane
[4:54] 13. Winter Moon

Philip Catherine - the South German Newspaper in Munich just recently wrote that he “plays things that cannot be heard by any other guitarist in the world today”. His partner on the bass, Martin Wind, is one of only a few Germans who made it in New York. Both are aesthetes that love melodic jazz with Swing roots. Without any haste or superficial virtuosity, but instead with complete mutual trust they find the ideal tone, the right timbre for each note, lining up sound and space perfectly. A meeting of generations marked by harmony and respect.

The Belgian guitarist Philip Catherine is a European jazz legend. The now 71-year-old Catherine started playing professionally when he was only 17 and toured with artists such as Lou Bennett, Dexter Gordon, Jean-Luc Ponty, Chet Baker (with whom he recorded 6 albums), Tom Harrell and many others. In 1978 he received the “Artist of the year” award by the German Phono-Academy, and Charles Mingus gave him the nickname “Young Django”. This is also a result of his impeccable time feel, which allows him to sound relaxed and loose even while playing the most breathtaking up-tempo passages. But it is not mainly his technique and dexterity that sets him apart; furthermore what made him so unique is his acoustic guitar sound, as well as an improvisational style, which is based not on other guitarists, but on some of the great horn players in jazz.

New Folks mc
New Folks zippy

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Philip Catherine - Cote Jardin

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 60:23
Size: 138,7 MB
Art: Front

(4:36)  1. Misty Cliffs
(2:21)  2. Seven Teas
(5:06)  3. Lost Land
(7:05)  4. La Prima Vera
(3:15)  5. Cote Jardin
(6:31)  6. The Hostage
(5:10)  7. Virtuous Woman
(5:10)  8. Yellow Landscape
(5:21)  9. Janet
(3:28) 10. Je me suis fait tout petit
(6:23) 11. Gilles et Mirona
(5:52) 12. Karagoz

"Philip Catherine: a sound, Philip Catherine: a man with a stunning originality, a guitarist embracing tradition, but so much finding his own road coming from that tradition. Philip the composer, Philip the virtuoso, Philip the artist searching for more, for something fresh, a new angle. The origin of the CD you hold in your hand goes back into Philip’s musical past. Somehow Philip’s strongest expression might be in his original compositions where he tries to paint musical pictures that each have a strong musical identity. His way of shaping the music in this way can be clearly traced back to his wonderful recording “Transparence” (1986), and one can also observe examples on different albums afterwards. Since a short while Philip created a new band with two young and upcoming musicians on the Belgian scene: Nicola Andrioli (1977),an Italian pianist living in Brussels, is more than a gifted and excellent instrumentalist: he is a strong composer and his sense of always knowing to play what is right for the situation is breathtaking. Drummer Antoine Pierre (1992!) somehow embraces it all: proficient in the modern idiom, yet with the ability to create a loose, deep and flexible swing when needed -a trait that is so very rare with drummers nowadays. Bassist Philippe Aerts (1964) has been on Philip Catherine’s side for almost 20 years and knows like no other how to cement the energy of the other band members into cohesiveness. His role is perhaps subdued, yet so essential in the creation of the music as a whole. The secret ingredient of this record for me is the presence of keyboard player Philippe Decock. His tasteful and often unusual use of sounds give the music a depth in sound and texture. A special word has to be dedicated to Philip’s daughter Isabelle. Isabelle came into the studio to sing one of her father’s classic tunes; “Côté Jardin” with gorgeous lyrics by Jacques Duvall. Her intimate interpretation draws one in. There is a graceful beauty about the way Isabelle delivers the words and the melody, unassuming and delicate, yet strong in its expression."(from the linernotes of the cd by Hein Van de Geyn).

Personnel:  Philip Catherine (guitar), Nicola Andrioli (piano), Philippe Aerts (double bass), Antoine Pierre (drums), Philippe decock (keyb), Isabelle Catherine (vocals on track 5)

Cote Jardin

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Philip Catherine - Stream

Styles: Guitar Jazz
Year: 1972
File: MP3@320K/s
Time: 40:59
Size: 95,0 MB
Art: Front

(4:02)  1. Memphis Talk
(2:29)  2. November
(1:58)  3. Un ecossais dans une chambre noire
(2:21)  4. C. et D.
(2:26)  5. Bass Line
(2:46)  6. Jeux interdits
(2:05)  7. Cloitre des Celestins
(2:56)  8. Stream
(3:08)  9. Foire
(1:45) 10. Face
(3:37) 11. Give It Up or Turn It Aloose
(3:41) 12. Let's Put It Like This
(2:31) 13. Next Time (Unreleased)
(2:03) 14. Enfin bref (Unreleased)
(3:05) 15. Bass Line (Extended)

One of the coolest records ever from guitarist Philip Catherine, and one of the funkiest too thanks to a really sharp edge that you won't find on some of his other albums, and lots of Fender Rhodes from the legendary Marc Moulin too! Some of Catherine's other records of the 70s were a bit laidback or noodly  but this set's got a strong, soulful drive all the way through a nice focus that may well come from the production of Sacha Distel, himself a onetime guitarist! But the group's just got things right on the money, right from the start with some very strong funky drums from Freddy Rotheir, plus trombone from Jiggs Wigham and both bass and flute from Freddy Deronde. Titles include "Bassline", "Let's Put It Like This", "Stream", "Foire", "Face", "Jeux Interdits", and "Memphis Talk".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/849272/Philip-Catherine-with-Marc-Moulin:Stream

Personnel: Guitar – Philip Catherine;  Bass – Freddy Deronde;  Drums – Freddy Rothier;  Electric Piano – Marc Moulin;  Trombone – Giggs Whigham           

Stream

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Chet Baker & Philip Catherine - There'll Never Be Another You

Styles: Trumpet And Guitar Jazz
Year: 1985
File: MP3@320K/s
Time: 58:54
Size: 136,0 MB
Art: Front

(14:58)  1. Beatrice
(10:19)  2. There'll Never Be Another You
(17:26)  3. Leaving
(16:10)  4. My Foolish Heart

There may never be another Chet Baker, but on this particular night in Zagreb, poor Baker was not playing his best: His chops are weak, and his voice is strained and shallow. Still, these four duos, with longtime collaborator, guitarist Philip Catherine, have their rewards, such as the lengthy, substantial, and melodic solos by the guitarist. There is also the opportunity to hear Baker's piano playing at length. On piano, Chet Baker was even sparser than on trumpet, perhaps due to his weaker technique on the former. As with the trumpet, though, his choice of notes was always immaculate, and Baker fans will want this disc for the novelty of his piano playing. As far as his trumpet playing goes, there are much better examples of these tunes elsewhere, particularly of "My Foolish Heart" and "There'll Never Be Another You." ~ Steve Loewy https://www.allmusic.com/album/therell-never-be-another-you-mw0000240895     

Personnel:  Chet Baker – trumpet, piano, vocals;  Philip Catherine – guitar

There'll Never Be Another You

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Philip Catherine, Neils-Henning Orsted-Pedersen - Spanish Nights

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 55:47
Size: 128,0 MB
Art: Front

(3:49)  1. Spanish Nights
(5:10)  2. Aranjuez
(6:27)  3. Django
(5:37)  4. My Favorite Things
(6:58)  5. Leaving
(4:59)  6. Esmeralda
(4:12)  7. Armando's Rhumba
(5:55)  8. Black Orpheus
(3:31)  9. Little Anna
(4:11) 10. Que Pasa
(4:52) 11. Rene Thomas

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. 

Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others.  During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. ~ Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography             

Philip Catherine (guitar);  Niels-Henning Ørsted Pedersen (bass);  The Royal Copenhagen Chamber Orchestra (orchestra);  Ernie Wilkins (arranger);  Kenny Drew (arranger); Ole Kock Hansen (arranger).

Spanish Nights

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Philip Catherine - Summer Night

Styles: Guitar Jazz 
Year: 2002
File: MP3@320K/s
Time: 55:40
Size: 127,7 MB
Art: Front

(5:00)  1. Tiger Groove
(4:47)  2. Letter from My Mother
(2:41)  3. Summer Night
(4:53)  4. Francis' Delight
(3:44)  5. Birth of Janet
(7:45)  6. Janet
(3:06)  7. Time After Time
(4:18)  8. Laura
(3:44)  9. If I Should Lose You
(4:37) 10. 'Round About Midnight
(3:06) 11. All Through the Day
(3:21) 12. Le Jardin de Madi
(4:32) 13. Gilles et Mirona

Philip Catherine has a guitar tone like that of the shine of hot mercury pouring from a stainless steel cylinder. His latest recording, Summer Night is replete with such a tone on both fusionesque pieces and more mainstream standard fare. Catherine deftly employs electric effects, always tastefully, to make his playing more fluid. "Tiger Groove" so totally rocks with Bert Jorvis’ brass that it grabs the listeners’ attention and sucks him or her into this wonderful melee of rhythm and harmony. Catherine takes on the standard ("Time After Time," "’Round About Midnight"), the fusion ("Tiger Groove") and the Space Guitar ("Birth of Janet") with equal enthusiasm. This is simply as fine a jazz guitar recording as one could hope for, as there is something for all listeners. ~ C.Michael Bailey https://www.allaboutjazz.com/summer-night-philip-catherine-dreyfus-records-review-by-c-michael-bailey.php

Personnel: Philip Catherine (guitar); Bert Joris (trumpet, flugelhorn); Philips Aerts (bass); Joost Van Schaik (drums)

Summer Night

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