Marion Brown Sweet Flying Earth Rar
Artist: Marion Brown Title Of Album: Geechee Recollections - Sweet Earth Flying Year Of Release: 2011 Label: Impulse!Verve Genre: Free jazz, Avant-Garde Jazz Quality: mp3 Bitrate: 320 kbps T. Sweet earth flying, part 1 2. Sweet earth flying, part 2 3. Sweet earth flying, part 3 4. Sweet earth flying, part 4 5. Sweet earth flying, part 5 6. Eleven light city, part 1 7. Eleven light city, part 2 8. Eleven light city, part 3 9. Eleven light city, part 4. Marion Brown Paul Bley Muhal Richard Abrams Bill Hasson James Jefferson Steve.
Contents.Reception The review by Brian Olewnick awarded the album 4½ stars stating ' Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Very highly recommended to open-eared jazz fans of all tastes'. Professional ratingsReview scoresSourceRatingTrack listing All compositions by Marion Brown except as indicated. 'Sweet Earth Flying Part 1' - 3:38. 'Sweet Earth Flying Part 3' - 5:55. 'Sweet Earth Flying Part 4: Prince Willie' (Brown, Bill Hasson) - 5:55. 'Sweet Earth Flying Part 5' - 5:06.
'Eleven Light City Part 1' - 7:16. 'Eleven Light City Part 2' - 2:08. 'Eleven Light City Part 3' - 5:50.
'Eleven Light City Part 4' - 3:04Personnel. —,. (tracks 2-8), (tracks 1, 2, 5-8) —,.
James Jefferson —,. —,. Bill Hasson — percussion,References.
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While it may be overshadowed by the other Arista releases, Marion Brown’s Porto Novo is an excellent record, one which is nearly as appealing in its own way as the spectacular Ayler Vibrations. For while Brown was hardly one of the giants of the Sixties, his was and is a strongly individual voice, usually heard in tantalizingly small doses as a soloist, as on Coltrane’s Ascension or Shepp’s Fire Music, or even on some of his own records, like Afternoon of a Georgia Faun (ECM) and Why Not? In view of Brown’s willingness to stand out of the spotlight, his forthright blowing on Porto Novo may surprise those who didn’t hear the original release of this material on Polydor. He certainly has the ability to fit, chameleon-like, into a variety of situations unlike some stronger voices who tend to play pretty much the same way regardless of the setting. The differences of style can be stated geographically. Bennink is a European drummer who has constructed, amazingly, an approach to percussion as convincing as any contemporary American stylist, but from his own sources.
Brown, of course, is from Atlanta, Ga., and demonstrates a deep sense of his own roots in his playing. The contrasting approaches work together in interesting ways: a final balance is achieved even though at times the juxtaposition seems to underline the differences between the two men. Bassist Altena responds to the impulses from both sides and helps hold together a session that comes off beautifully for all the divergent ideas. Well blow me down! Han Bennink is for sure one of the most creative drummers that jazz music has ever heard. This recording is centered more on the Brown/Bennink combination, and that works as good as the Cherry/Blackwell combination on Mu.
I find a strong similarity between these recordings as Brown could appreciate retreating in order to let the other player speak in his own tongue, both Brown and Cherry had this special gift of staying silent without making it look like lack of inspiration. Brown had a very special, dizzying yet melodic way of knotting notes and lines in quite unexpected ways (his Solo Saxophone recording is also a very welcome addition), and on Improvisation he has no difficulty in showing his more frenetic, discordant improvisation procedure. The duet between Brown and Leo Smith on And Then They Danced is also noteworthy, and while the bass player did not shine at the level of Bennink (hell, how many can really keep up with such a machine gun?) and Brown, it is every bit as original as Quartet, Juba-Lee, Why Not, Sweet Earth Flying, Solo at Yale and Afternoon Of A Georgia Faun. Definitely recommended! TrepanI was fortunate to see him in 1984, accompanied only by a female drummer who played like a very fast octopus, with soft mallets. It was all avant-garde noise until the last number where he played a beautifully soaring unaccompanied solo, seemingly channeling the spirits of Trane, Lester Young and Eric Dolphy all at once. The crowd, previously not that impressed by the squonking, erupted into a standing ovation and the announcer was in tears.
Marion Brown Sweet Flying Earth Rar Download
Marion Brown Sweet Flying Earth Rar Files
Not a bad warmup for the headliner, who was James Blood Ulmer.