Sean Trane Elton’s first solo album (well JU was supposed to get a band at first, I believe), released during his tenure in Soft Machine and logically including some of his Machinist fellows. Indeed, while dean handles the reeds and keyboards, ex-SM man Charig toots his horn, while his fave drummer Howard pounds the skin, and Ratledge tickles the ivories on the same two tracks that Babbington plucks the contrabass strings. A rather enigmatic scorpion artwork graces the gatefold sleeve of the album that was recorded in the spring of 71 and engineered by Offord and released on the CBS label. The only conspicuous absence is Hugh Hopper really, and he’s replaced by Neville Whitehead.

The least we can say is that the album doesn’t start on the listener-friendly mode as the 15-mins Ooglenovastrome (say that again, Elton?) opens on some dissonant wailings that don’t necessarily reflect the album’s overall kaleidoscope. While the degree of difficulty varies throughout the lengthy track, it never gets easy. Somewhat more accessible is the brooding Something Passed Me By, where Whitehead’s modal bass line sets the tone and the horns are just hovering over it like a bee swarm. Probably the most accessible track (rhythmically-speaking) would be the 6-mins+ Blind Badger (reinforced with Ratledge and Babbington) , but Dean and Charig’s horns will not allow you to rest long. The Soft Machine derived track Caliban is definitely not in the same category, despite featuring the same sextet as in its predecessor track and Babs’ bowed contrabass doesn’t help making it more accessible. The closing The Last Part is also much more accessible as Elton’s Rhodes is leading the debate, the horns voluntarily restrained.

Now, thanks to the fantastic Cuneiform label, this album finally got a CD reissue in the late 90’s, but Feigelbaum added two bonus tracks with a somewhat different line-up, where trombonist Evans (also an ex-Crimson Machinist), bassist Green and drummer Moholo. The 20-mis Bishopgate is taken from a Bremen Radio 1 broadcast (Steve’s connection strikes again) in the early summer of 72 and sees Charig replaced by Nick Evans, and Whitehead by Green. Don’t go thinking that this piece is any easier than the studio stuff though, because drummer Howard drums up a storm and Dean’s Rhodes gives him a run for his money. The second bonus is a slightly different lie-up with Moholo subbing for Howard, and this is much more accessible and melodious.

Just Us is a typical Elton-esque soundscape that sits along quite well with what he did with Keith Tippett’s Sextet, Soft Machine, Centipede, Julie Driscoll’s 1969 album and Wyatt’s debut solo album. So if you like these, there isn’t a single doubt that this album will slide down your alley without the slightest effort.