1. November Cotton Flower
2. La Placita
3. Angel Eyes - Hurry Sundown
4. Sunshine Road
5. Africa

Marion Brown (alto saxophone)
Dave Burrell (piano)
Gon Mizuhashi (bass)
Warren Smith (drums)

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, AllMusic Reviews

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1 	Similar Limits 	6:25
2 	Sound Structure 	6:10
3 	Improvisation 	5:50
4 	Qbic 	6:32
5 	Porto Novo 	11:55
6 	And Then They Danced 	16:05
7 	Rhythmus No. 1	3:30

Alto Saxophone – Marion Brown (tracks: 1 to 5)
Alto Saxophone, Percussion, Other [Etc.] – Marion Brown (tracks: 6, 7)
Bass – Maarten van Regteren Altena (tracks: 1 to 5)
Drums – Han Bennink (tracks: 1 to 5)
Trumpet, Percussion, Other [Etc.] – Leo Smith (tracks: 6, 7)

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. ---Scott Yanow, Rovi

Alto saxophonist Marion Brown has always existed on the periphery of avant-garde jazz. His lithe soloing has by and large eschewed the edgy, colorful flare-ups that constantly cap Ornette Coleman's most brilliant runs. This trio session features Brown in ideal company, with then-youthful drummer Han Bennink and bassist Marteen Altena filling out the group. Together, the group trots the line between fluid motion and crisp execution, with Brown's alto making pungent jabs amidst Bennink's popping drumming and Altena's rubbery bass. Most impressively, Brown captures the continuity from Johnny Hodges' swing to the avant-garde's high energy in his catholic sound and in this trio's pouncing intensity. ---Andrew Bartlett, amazon.com

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1 	Le Temps Fou 	5:20
2 	Cascatelles 	5:35
3 	Song For Serge And Helle 	6:40
4 	Boat Rock 	4:59
5 	Ye Ye 	6:08
6 	En Arrière 	11:31

Alto Saxophone, Bells – Marion Brown
Claves, Bells [Cow Bells] – Alain Corneau (tracks: 6)
Contrabass, Castanets, Whistle – Barre Phillips
Drums, Triangle, Tambura [Tambour] – Steve McCall
Trumpet, Bells [Cow Bells], Tambura [Tambour] – Ambrose Jackson
Vibraphone, Bass Clarinet, Bell Tree – Gunter Hampel 

A film soundtrack for Marcel Camus' film composed by Marion Brown, with the exception of the track "Cascatelles". It's pretty standard late-1960s Marion Brown - which means if you're a fan, you'll be pleased to find this. The music stands up quite nicely - there aren't any tracks that would qualify as incidental music or filler. The tune "Boat Rock" is a bit of an oddity in that it is more of a rock tune, with jazz instrumentation.

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1. Sunshine Road {Marion Brown} (9:14)
2. Soul Eyes {Mal Waldron} (10:15)
3. Body And Soul {Heyman, Sour, Eyton & Green} (7:14)
4. Afrisa {Marion Brown} (5:18)							play
5. Goodbye Pork Pie Hat {Charles Mingus} (8:40)
6. Blue Monk {Thelonious Monk} (11:25)

Musicians:
Marion Brown – Alto Saxophone
Kenny Barron – Piano
Cecil McBee – Bass
Philly Joe Jones – Drums

This share is a belated tribute to the passing of a wonderful jazz musician and talented composer, Marion Brown. Here Brown assembles an amazing quartet of similarly gifted musicians of which none need any introduction. This album eluded US sales by being released in Japan. Although a CD was released later, it still remains hard to obtain. The music presented is a well performed mixture of Brown, Waldron, Heyman, Sour, Eyton & Green Mingus and Monk compositions. Apart from Brown’s own tunes all players place their mark to great effect and cohesion to the other familiarised pieces. If you were to procure this album for just one track my choice would be the beautifully executed title track “Soul Eyes” {Mal Waldron}. Brown’s tone and deliverance is impeccable and alongside Barron’s clean piano lines the piece is a joy right throughout. In having praised the main soloists it would be criminal not to shower additional accolades on the rhythm section. McBee manages to really lock together these sets and of course without Jones’ driving percussive force there would have been ample opportunity for the tunes, especially Mingus’ and Monk’s to be trivialised. Overall this album is a must have if you are a Marion Brown aficionado or a newcomer to Modern-Avant-Garde Jazz. --- liveinjazz.ge

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