By the time guitarist Philip Catherine released his solo debut Stream in 1972, he'd been a professional musician for more than 12 years. He'd played on a handful recordings of astonishing variety including Jack Sels' The Sexy Sax of Sels Swinging Friends in 1963 and the Lou Bennett Trio's "Hammond Organ" single in 1967. He also wrapped up a stint with Jean Luc Ponty. Stream was cut in 1970, but held up due to contractual touring with Ponty. In a dozen short tunes (none over four minutes), Catherine melds the modern influence of guitarists such as Larry Coryell and John McLaughlin with his formal training, which included the techniques of Django Reinhardt, Jim Hall, and Barney Kessel. Stream was produced by Sasha Distel; it's the guitarist's first recorded collaboration with the mighty pianist and jazz-funk innovator Marc Moulin, with whom he would work periodically until the pianist's death. The lineup also includes trombonist Jiggs Whigham, drummer Freddy Rothier, and bassist/flutist Freddie Deronde. Moulin penned five tunes, Catherine four more and one with Deronde, and two covers. Opener "Memphis Talk" is a slippery, snare-heavy blues that makes its transition to funky jazz within its first turnaround. Catherine's solo is blazing, it careens through multiple styles. Whigham's trombone joins with the guitarist's melody in Moulin's "November." Its jazz harmonics balance a midtempo, serpentine ballad, funky jazz, and prog rock. Catherine's early jazz-rock fusion leanings are revealed abundantly on "Un Ecossais Dans Une Chambre Noir," with its twinned lead lines (overdubbed) fueled by Rothier's punchy breaks. Modern jazz gets its first nod in "C. Et D," with its edgy Rhodes piano also trailing along after sci-fi soundtracks, Catherine's playing centers its progressions along syncopated lines. "Bass Line" is a fusion classic with Catherine trading sharp, silvery arpeggios with Moulin's edgy chord voicings and powerhouse rock rhythms. The influence of Frank Zappa's "Peaches en Regalia" is readily apparent on the knotty, majestic "Cloitre Des Celestins," with Whigham joining the front line. In under three minutes, "Stream" pays homage to McLaughlin's vampy playing with Miles Davis, the Eleventh House's tripped-out effects, and Zappa's love of classical jazz fusion. An unaccompanied read of Narciso Yepes' film theme "Joyeux Interdits" is a glorious solo showcase for Catherine's improvising. Charles Bobbitt's "Give It Up and Turn It a Loose" (sic), is rendered with a fat, whomping groove, complete with wah-wah trombone and a greasy flute break. The set closes on the jazz tip with Moulin's easy-grooving, summery "Let's Put It Like This." While Stream is rawer and less focused than 1974's classic September Man, it arguably dates better due to its groove-laden core; further, it reveals Catherine as one of the great ensemble players of his generation. This is the showcase for his solo prowess. [The 2020 Japanese KTI reissue includes three bonus tracks penned by the guitarist and Deronde: an extended "Bass Line," the uber funky "Enfin Brief," and the fusion of "Next Time."] ~ Thom Jurek, Rovi

1		Memphis Talk
2		11/2/2020
3		Un Ecossais Dans Une Chambre Noir
4		C. Et D.
5		Bass Line
6		Jeux Interdits
7		Cloitre Des Célestins
8		Stream
9		Foire
10		Face
11		Give It Up or Turn It Aloose
12		Let's Put It Like This
13		Next Time
14		Enfin Brief
15		Bass Line