Amazing work from Marion Brown – two albums we'd never be without! Geechee Recollections is quite possibly our favorite record ever from reedman Brown – and very different than both his seminal 60s recordings, and his European sides from later years! There's a really earthy feel to this record – one that really lives up to the title, and which comes from the use of lots of percussion, played by just about every group member, ala AACM – but handled in a style that's warmly spiritual, and very organic too – right in line with the best Impulse Records vibe of the time, yet completely its own thing too! Brown plays alto and soprano sax, and is working with players who include Leo Smith on trumpet, William Malone on mbira and autoharp, James Jefferson on bass, and Steve McCall, Jumma Santos, Bill Hasson, and A Kobena Adzenyah on percussion – in addition to percussion plays by other group members too.
Anthology box set containing 7 hard-to-find and critically acclaimed albums, released on labels such as Cantil, Opal and All Saints. The box includes: ‘The Serpent (In Quicksilver)’ (1981), 'Abandoned Cities’ (1984), ‘The White Arcades’ (1987), ‘By The Dawn’s Early Light’ (1991), ‘Music For 3 Pianos’ (1992) ‘Through The Hill’ (1994, with Andy Partridge of XTC), ‘Luxa’ (1996). What can you say about ambient music? It's quiet … It's ethereal … It's meditative … It's minimal … It's passive … but it's also important! And Harold Budd is - in my opinion - right up there with Brian Eno when it comes to this particular genre of musical fields. I don't know who thought up the idea of releasing a boxed set of Harold Budd material, but God love you for doing it!! This is a true "must-have" for any Budd enthusiast who likes beautiful background music playing low while working on the computer (either at home or at work) or for also doing what I consider "low-noise household chores."
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A beautiful late 70s set from reedman Marion Brown – maybe not as all-out adventurous as some of his earliest material, but still filled with a strong sense of spirit and soul! The group here is a bit unusual – as Brown's alto is set up with the guitar of Brandon K Ross, bass of Jack Gregg, and drums of Steve McCraven – in a format that often has the ringing tones of Ross' guitar working nicely with the introspective tones of Brown's alto sax. Some tunes are spacious and have a sense of sonic exploration, others are a bit more swinging, with some unusual rhythmic inflections from the guitar – and McCraven's nicely open sensibilities on the drums. And while the whole thing maybe isn't as all-out avant, the shift is actually a nice one in showing some of Brown's more personal, spiritual currents too.
This 1965 release was saxophonist Marion Brown's debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson, along with John Coltrane's future drummer Rashied Ali, and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin.
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.
A strangely wonderful album from Marion Brown – quite different from his other work on Impulse, with a mellow electric edge that gives it a warm and laidback feel! The approach here is much more soulful than before – with finely crafted tunes that weave Brown's work on alto with electric piano by Anthony Davis and Stanley Cowell, percussion by Ed Blackwell and Jimmy Hopps, and bass by Reggie Workman. If you're expecting the angrier Brown from earlier years, you'll be disappointed – but if you're ready to hear a Brown that's gently crafting mellow lines in a soulful setting, then you're in for a treat. Tracks include Cowell's "Maimoun", Stevie Wonder's "Visions", Brown's "Vista", "Moment of Truth", "Bismillah Rrahimani Rrahim", and "Djinji".