Catherine’s approach can also be reminiscent of John McLaughlin and Larry Coryell as demonstrated on driving ‘Francis’ Groove.’ But he also shows deeper swing roots of Reinhardt and Grappelli. It is no wonder that upon hearing Catherine’s sharp-edged playing, Charles Mingus christened him as the "Young Django." Indeed, Catherine performs the Monk signature piece, ‘Round Midnight’ with Reinhardt-like flair and delicacy. It is a compelling take, and it feels like an introspective stroll through Place de Bastille on a sultry midsummer’s evening. The Bastille is bright with outdoor cafes still serving salad and wine at midnight, but eventually the walk ends along the Seine that has become lonelier and filled with shadows.
Dedicated to his daughter, ‘Janet’ is playful as a tot stumbling her way across the living room floor. It is affectionate and sweet. There is joy and delight. But the prelude entitled ‘Birth of Janet’ is something altogether different. It is slow, dramatic and uncertain. It is eerie and almost dangerous. A difficult journey.
‘Letter From My Mother’ is a rich poem. It is perhaps the most like Reinhardt. It sounds like a piece from a bygone era. It feels like as though it tries to remain jaunty though there is underlying distress. Nevertheless, these contradictions remain sweetly nostalgic. The playing back and forth between Catherine and Joris is superb.
The coda to "Summer Night" is the masterful ‘Gilles et Mirona.’ It is a lovely way to end a gorgeous album that takes one places and through a range of emotions. "Summer Night" is extraordinary.