Sean Trane Last (and least) album from a band that obviously sought a more commercial path and veered towards soul-jazz, even adding vocals and syrupy ballads to the track list. Even the album title sounds a bit like a sell-out. One of the main difference with this album is that drummer Ferguson became the main songwriter, and a bunch of string and wind arrangements are sometimes intrusive.

The album starts out well enough, with the two-parts The Demon (7-mis+ in total), of which the slow first instalment even has a Canterburyan feel with its fuzzed-out instruments. However the second part features weird intrusive vocals on a Head Hunters-like funk. This heavy deviation from the Catalyst norm is even more unsettling in the light of the following smooth flute-driven Tear And Smile. Too much of a contrast, IMHO, especially that we return to a street-funk-jazz ala Head-Hunters/On The Corner with disputable choices of synths. As for the flipside, the opening Spanish-sounding Albeniz is the album’s highlight though the string arrangements are limit cheesy. The album’s pot-pourri ambiance goes a step forward with a stinky ballad with sultry but soppy vocals from Sharon Scott. And to even further confuse, the album closes on a gentle Brazilian jazz (aptly named Bahia) which also feature vocals

Compared with its three predecessors, this album is obvious odd one out, resembling the bazillions soul-jazz albums that abounding and flooded the record racks of the times. Indeed only the opening tracks of either side of the vinyl will have still a strong link with the trusted early Catalyst feel. Best avoided, if you ask me…. But then again you might not have a choice, because I think that all of Catalyst’s albums are only available on CD format through two 2on1 compilation discs affair. At least I’m not aware of the albums getting their own single album releases.

Sean Trane Third album from the Green/Pope band, and Unity is in the continuity (no pun, I swear ;o)) of its predecessor, whatever your Perception (now yes ;o))). The line-up remains unchanged, although Alphonso returns for one track, as Hart does too, and other guests include some strings and some additional flute players. Unfortunately the artwork returns to the yawnsome band picture, after the slightly kaleidoscopic Perception.

Opening on the scorching fuzzed-out bass Country Song, the album settles in a cooler mood with the Rhodes and flute Little Miss Lady, the calm ballad that follows, which wimll lead you in the torrid Maze, where the meanders will lose you while loosening your senses in preview of what’s to come. The flipside opens on the also-torrid Athene and I thought I found some Nucleus sonics and stribng and wind arrangements and a lengthy violin solo, courtesy of John Blake. The lengthy Mail Order is definitely the album’s centrepiece and its steamy fusion heart is truly hypnotizing, with Pope reaching some Coltranian intensity, and Brown’s bass solo is just the right length. The closing Shorter Street bears its influence in the title.

If you were to ask me which of the first three Catalyst albums I would preferred, I’d have a hard time telling which one would slightly edge-out the other two, but this one might just gat an inch advantage, only detected by a photo-finish

Sean Trane The band’s only album with an interesting artwork sleeve, Perception also sees Tyrone Brown hogging the bass spot, even if Ant Jackson appears on the album’s final track. Musically, the band is still strongly inspired by Mwandishi and they invited Pat Gleeson to play his electronic gizmos all over the album. Other guests are percussionists Billy Hart and Farrell Johnson and guitarist Norman Harris - the latter who made a short appearance on the band’s previous album. Gleeson’s contributions are somewhat more accessible than what he did for Mwandishi, and tend to provide a soft decorum (winds, etc…), rather than plunging the compositions into an abyss - as was the case on Sextant or Crossings.

The opening 14-mins+ title track is thee album’s centrepiece and presents a middle section with various solos, some being slightly dissonant, but one should remember the other moments of the track. He short Uzuri has a slight Latin jazz feel with flute, as would the also-short Got To Be There ending the album. The two longer tracks on the flipside are the heart of the album. Both Celestial Bodies and Ife are involved and intense, the first being a bit more aerial, the second being more earthy.

Although I’d say that all four Catalyst albums are about equal quality, I tend to prefer Perceptions slightly more, though I’d have a hard time arguing why. Maybe the artwork and Gleeson’s presence make the difference

Sean Trane Although Catalyst is generally remembered as a fairly stable quartet, it was not really the case with their debut album. They were mostly a trio at the time with Rhodesman Eddie Green, drummer Sherman Ferguson and wind player Odeon Pope, and whoever was around on bass, which included Alphonso Johnson, Anthony Jackson or Ron Baker. Musically, the band was a typical product of its time.

Opening on the light-hearted but short Ain’t It The Truth, the albums plunges in the thick of things with the 8-mins East, which delves in depth of the Vitous-era Weather Report, and the Mwandishi soundscapes, including Pope’s deep oboe that is reminiscent of Bennie Maupin’s bass transcendental foundations that made such impact on Mwandishi’s music. The 8-mins+ Catalyst Is Coming is somewhat more upbeat (and jazzier), with Pope saxing around and Jackson’s pedestrian contrabass (including a solo), but Green ever-present Rhodes keeps a fusion touch. Flipping the disc, you’ll return to the same kind of ambiance in Jabali (percussionist Billy Hart’s nickname). New-found Truths features loads of Rhodes, and the closing Salaam features loads of slow flute.

Although not nearly as well-known as Mahavishnu, Weather Report, Mwandishi or RTF (all direct descendants of Miles’ Bitches sessions) Catalyst’s debut album is just as good as their counterpart’s debut, but this band recorded their around two years after, which does not make them groundbreakers. Nevertheless, if you love early 70’s JR/F, you should have no problems appreciating this band’s four albums.