Marion Brown

by Thom Jurek
Alto saxophonist Marion Brown is an under-sung hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless is possessed of a truly lyrical voice but is largely ignored when discussions of free jazz of the 60s and 70s are concerned. Brown came to New York from Atlanta in 1965. His first session was playing on John Coltranes 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 wasnt 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 didnt 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 Enos 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 hasnt recorded since 1992.