Marion Brown - Porto Novo

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 56:18
Size: 129,2 MB
Art: Front

( 6:25) 1. Similar Limits
( 6:08) 2. Sound Structure
( 5:49) 3. Improvisation
( 6:33) 4. Qbic
(11:53) 5. Porto Novo
(16:10) 6. And Then They Danced
( 3:17) 7. Rhythmus No. 1

This was one of altoist Marion Brown's best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers.By Scott Yanow https://www.allmusic.com/album/release/porto-novo-mr0000357302

Porto Novo

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Marion Brown - Live in Japan

Styles: Jazz
Year: 1979
Time: 71:09
File: MP3 @ 320K/s
Size: 163,4 MB
Art: Front

(15:36) 1. November Cotton Flower
(17:51) 2. La Placita
(11:10) 3. Angel Eyes ~ Hurry Sundown
(13:09) 4. Sunshine Road
(13:21) 5. Africa

Alto saxophonist Marion Brown was an underappreciated hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless possessed a truly lyrical voice but was largely ignored in discussions of free jazz of the '60s and '70s. Brown came to New York from Atlanta in 1965. His first session was playing on John Coltrane's essential Ascension album. He made two records for the ESP label in 1965 and 1966 Marion Brown Quartet and Why Not? and also played on two Bill Dixon soundtracks. It wasn't until his defining Three for Shepp (including Grachan Moncur III and Kenny Burrell) on the Impulse! label in 1966 that critics took real notice. This set, lauded as one of the best recordings of that year, opened doors for Brown (temporarily) to tour. He didn't record for another two years because of extensive European engagements, and in 1968 issued Porto Novo (with Leo Smith) on the Black Lion label. In 1970, Brown recorded Afternoon of a Georgia Faun for the ECM label, his second classic. This date featured Anthony Braxton, Andrew Cyrille, Bennie Maupin, Jeanne Lee, and Chick Corea, among others. In 1973, he cut his second Impulse! session, Geechee Recollections, with Leo Smith. Brown registered at Wesleyan University in the mid-'70s, studying ethnic instruments and black fife-and-drum corps music and maintained a regular recording schedule. He also recorded with Gunter Hampel in the late '70s and '80s, as well as composer Harold Budd on his Pavilion of Dreams album (issued on Brian Eno's Obscure label), Steve Lacy in 1985, Mal Waldron in 1988, and many others. There are numerous duet and solo recordings that may or may not be sanctioned. Due to health problems, Brown didn't record after 1992. After the turn of the millennium he lived for a while at a New York nursing home before moving to an assisted living facility in Florida. Marion Brown died in October of 2010. ~ Thom Jurek

Live in Japan

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Marion Brown - Sweet Earth Flying

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 39:02
Size: 89,9 MB
Art: Front

(3:41)  1. Sweet Earth Flying, Part 1
(5:58)  2. Sweet Earth Flying, Part 3
(5:58)  3. Sweet Earth Flying, Part 4
(4:58)  4. Sweet Earth Flying, Part 5
(7:17)  5. Eleven Light City, Part One
(2:11)  6. Eleven Light City, Part Two
(5:52)  7. Eleven Light City, Part Three
(3:05)  8. Eleven Light City, Part Four

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick https://www.allmusic.com/album/sweet-earth-flying-mw0000892491

Personnel:  Marion Brown — alto saxophone, soprano saxophone;  Muhal Richard Abrams , Paul Bley — piano, electric piano, organ;  James Jefferson — bass, electric bass;  Steve McCall — drums, percussion;  Bill Hasson — percussion, narration.

Sweet Earth Flying

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Marion Brown - Vista

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 41:23
Size: 95,4 MB
Art: Front

(7:33)  1. Maimoun
(5:40)  2. Visions
(7:44)  3. Vista
(4:37)  4. Moment Of Truth
(6:02)  5. Bismillahi 'Rrahmani' Rrahim
(9:45)  6. Djinji

Altoist Marion Brown, one of the potentially great high-energy saxophonists to emerge in the mid-'60s (he was on John Coltrane's famous Ascension record), has had somewhat of a directionless career. This disc certainly boasts an impressive backup crew (including both Anthony Davis and Stanley Cowell on keyboards along with bassist Reggie Workman and some appearances by drummer Ed Blackwell) but does not seem to know what it wants to be. The solos are relatively short, there is a poppish vocal by Allen Murphy on a Stevie Wonder tune and little that is all that memorable actually occurs. Better to acquire Marion Brown's earlier recordings. ~ Scott Yanow http://www.allmusic.com/album/vista-mw0000452724

Personnel:  Marion Brown — alto saxophone, wind chimes;  Stanley Cowell (tracks 1-4), Anthony Davis — piano, electric piano;  Bill Braynon — celeste, electric piano (tracks 1-4);  Reggie Workman — bass (tracks 1 & 3-6);  Jimmy Hopps — drums (tracks 1 & 3-5);  Ed Blackwell — drums, slit drums, (tracks 3 & 6);  Jose Goico — congas, tambourine (tracks 1 & 3-6);  Allen Murphy — vocals (track 2), bells (track 5);  Harold Budd - celeste, gong (track 5)

Vista

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Mal Waldron & Marion Brown - Song of Love and Regret

Styles: Piano And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 56:34
Size: 129,8 MB
Art: Front

( 7:21)  1. Blue Monk
( 6:43)  2. A Cause de Monk
( 5:40)  3. To the Golden Lady in Her Graham Cracker Window
( 8:11)  4. Contemplation
( 4:45)  5. Hurry Sundown
( 8:08)  6. A Flower Is a Lovesome Thing
(15:42)  7. Blue Monk (take 2)

A pianist with a brooding, rhythmic, introverted style, Mal Waldron's playing has long been flexible enough to fit into both hard bop and freer settings. Influenced by Thelonious Monk's use of space, Waldron has had his own distinctive chord voicings nearly from the start. Early on, Waldron played jazz on alto and classical music on piano, but he switched permanently to jazz piano while at Queens College. He freelanced around New York in the early '50s with Ike Quebec (for whom he made his recording debut), Big Nick Nicholas, and a variety of R&B-ish groups. Waldron frequently worked with Charles Mingus from 1954-1956 and was Billie Holiday's regular accompanist during her last two years (1957-1959). Often hired by Prestige to supervise recording sessions, Waldron contributed many originals (including "Soul Eyes," which became a standard) and basic arrangements that prevented spontaneous dates from becoming overly loose jam sessions. After Holiday's death, he mostly led his own groups, although he was part of the Eric Dolphy-Booker Little Quintet that was recorded extensively at the Five Spot in 1961, and also worked with Abbey Lincoln for a time during the era. He wrote three film scores (The Cool World, Three Bedrooms in Manhattan, and Sweet Love Bitter) before moving permanently to Europe in 1965, settling in Munich in 1967. Waldron, who has occasionally returned to the U.S. for visits, has long been a major force in the European jazz world. 

His album Free at Last was the first released by ECM, and his Black Glory was the fourth Enja album. Waldron, who frequently teamed up with Steve Lacy (often as a duet), kept quite busy up through the '90s, featuring a style that evolved but was certainly traceable to his earliest record dates. Among the many labels that have documented his music have been Prestige, New Jazz, Bethlehem, Impulse, Musica, Affinity, ECM, Futura, Nippon Phonogram, Enja, Freedom, Black Lion, Horo, Teichiku, Hat Art, Palo Alto, Eastwind, Baybridge, Paddle Wheel, Muse, Free Lance, Soul Note, Plainisphere, and Timeless. In September of 2002, Waldron was diagnosed with cancer. Remaining optimistic, he continued to tour until he passed away on December 2 in Brussels, Belgium at the age of 76.~ Scott Yanow http://www.allmusic.com/artist/mal-waldron-mn0000665824/biography

Personnel:  Marion Brown, alto saxophone;  Mal Waldron, piano

Song of Love and Regret

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