Catalyst

As the self-proclaimed “funkiest band you’ve never heard,” Catalyst was a Philadelphia-based quartet whose far-out brand of jazz made them one of the earliest purveyors of fusion. Their sound was fresh and innovative, while their breathtaking musicianship was of the highest caliber. And yet, a multitude of factors prevented the short-lived band from achieving widespread recognition. Those in the know, however, have long revered Catalyst’s brief but influential catalog.

Formed at the turn of the ’70s, Catalyst featured a supremely talented line-up of local musicians, including keyboardist/vocalist Eddie Green, percussionist Sherman Ferguson (who began as a sideman for the likes of Pat Martino, Charles Earland, and Don Patterson), and tenor saxophonist/flutist Odean Pope, who cut his chops playing alongside everyone from James Brown and Marvin Gaye to Max Roach. Founding bassist Alphonso Johnson, who would go on to work with legendary fusion group The Weather Report, was replaced by Tyrone Brown not long after the release of Catalyst’s self-titled debut.

Playing regularly around their home city, the quartet was discovered by producer Skip Drinkwater (Alphonse Mouzon, Eddie Henderson, Lee Ritenour), who signed them to the New York-based jazz label, Cobblestone Records (acquired soon after by Muse Records). Working with Drinkwater and producer Dennis Wilen, the group recorded 1972’s Catalyst - a blend of jazz, rock, and funk, that helped earn the band a cult following.

The following year, they returned with Perception. Working once again with Drinkwater and Wilen, the ensemble expanded upon their debut, allowing themselves the space to explore the limits of their musical creativity. Helping them achieve their sound were several special guests, including guitarist Norman Harris, who was hugely influential in creating the “Philly Sound,” as well as synth pioneer Patrick Gleeson, who can be heard on the ARP.

The focused, near-telepathic connection between the musicians is palpable, as they deftly blend avant-garde jazz with atmospheric soul, creating a sound that is provocative yet accessible. Among the highlights is the heady, fourteen-and-a-half-minute-long “Perception.” On the other end of the spectrum - clocking in at just under three minutes - is the breezy and melodic “Uzuri,” led by Pope, who shines on the flute. The ethereal “Celestial Bodies,” meanwhile, showcases Green’s nuanced work on the keyboards. The quartet closes out the album with a groovy rendition of “Got to Be There,” made famous by a young Michael Jackson just two years earlier.