Marion Brown

Marion Brown (September 8, 1931 – October 18, 2010) was an American jazz alto saxophonist, composer, writer, visual artist, and ethnomusicologist.

Brown was born in Atlanta in 1931 and was raised by a single mother.

He was the grandson of an escaped slave from Georgia's Sea Islands.

He began studying the saxophone at an early age, inspired by Charlie Parker.

In 1956, he returned to Atlanta and enrolled at Clark College, where he studied music, taking lessons from Wayman Carver.

After graduating, he moved to Washington, DC, where he enrolled at Howard University's law school.

During this time, he began listening to musicians such as John Coltrane, Ornette Coleman, and Archie Shepp, all of whom he would soon meet and come to know.

He was a member of the avant-garde jazz scene in New York City during the 1960s, playing alongside musicians such as John Coltrane, Archie Shepp, and John Tchicai.

AllMusic reviewer Scott Yanow described him as "one of the brightest and most lyrical voices of the 1960s avant-garde."

During the mid-1960s, Brown began recording under his own name: Marion Brown Quartet, recorded in 1965 and released on ESP the following year; Why Not?, recorded in 1966 and released on ESP in 1968; Juba-Lee, recorded in 1966 and released on Fontana in 1967; and Three for Shepp, recorded and released in 1966 on Impulse!.

Coltrane had used his influence at Impulse!

to secure Brown his own recording date with the label.

Brown also performed with Sun Ra and Pharoah Sanders, and recorded with Burton Greene on the album Burton Greene Quartet.

In 1962, Brown left Howard and moved to New York City, where he befriended a number of musicians, as well as writers such as Amiri Baraka (then known as LeRoi Jones), who was also a Howard drop-out, and A. B. Spellman, a Howard graduate.

According to Brown, "The writers who listened to me and liked my playing, they inspired me to be better, and I inspired them to keep listening. LeRoi Jones opened the door for me; he introduced me to the world. He was a very beautiful and very smart person."

He also met Ornette Coleman and Archie Shepp, and introduced Shepp to Baraka.

Brown recalled that Shepp "offered me the opportunity to play with him. But I didn't have a saxophone, so Ornette Coleman let me use his white plastic saxophone to get started."

According to writer Aldon Lynn Nielsen, Brown's "conversations with Baraka and Shepp aided them in their thinking through of the relationships between the American jazz avant-garde and African musical traditions."

Brown later played a minor acting role in the original production of Baraka's Dutchman.

In 1964, Brown performed with Shepp and Bill Dixon in "Four Days in December", a series sponsored by the Jazz Composers Guild.

The following year, he participated in the recording of Shepp's Fire Music as well as John Coltrane's Ascension.

According to Brown, he was introduced to Coltrane by Shepp: "Archie told him about my music and he started to listen to it and he liked it. And then, several times, he would come to hear me play and he liked that. So when he decided to do Ascension, I fit the picture of somebody that he wanted in it."

Regarding the music on Ascension, Brown stated: "You could use this record to heat up your apartment on a cold morning."

Regarding the recording session, he recalled: "We did two takes, and they both had that kind of thing in them that makes people scream. The people who were in the studio were screaming. I don't know how the engineers kept the screams out of the record. Spontaneity was the thing. Trane had obviously thought a lot about what he wanted to do, but he wrote most of it out in the studio. Then he told everybody what he wanted: he played this line and he said that everybody would play that line in the ensembles. Then he said he wanted crescendi until we were together, and then we got into it."

He performed on Coltrane's landmark 1965 album Ascension.

In 1967, Brown moved to Europe, where he continued performing and recording, and where he developed an interest in architecture, Impressionistic art, African music and the music of Erik Satie.

He was an American Fellow in Music Composition and Performance at the Cité internationale des arts in Paris.

On a show on French television, he played a version of Sound Structure with drummer Eddy Gaumont.

Late that year, while in Holland, he recorded Porto Novo with Han Bennink and Maarten Altena.

While in Europe, Brown met and befriended Gunter Hampel, and in 1968 they recorded the soundtrack for Marcel Camus' film Le temps fou, with a band featuring Steve McCall, Barre Phillips, and Ambrose Jackson.

Brown and Hampel recorded two more albums, Gesprächsfetzen (in 1968) and Marion Brown In Sommerhausen (in 1969).

While in Europe, Brown also performed in duos with Leo Smith, recording Creative Improvisation Ensemble.

In 1970, Brown returned to the United States, settling in Connecticut, where he at first worked in elementary schools, "teaching children how to make instruments and create their own music," and where he continued his musical partnership with Leo Smith.

He composed and performed incidental music for a Georg Büchner play, Woyzeck.

In the early 1970s, Brown also recorded a trilogy of albums influenced by poet Jean Toomer, reflecting on his southern upbringing, in which "images of the Georgia countryside, many of them drawn from Toomer's poetry, and improvisational techniques of African, AfroAmerican, and European provenance enrich and revivify one another:", ECM), Geechee Recollections (1973, Impulse!), which featured Leo Smith and Steve McCall among others; Sweet Earth Flying (1974, Impulse!, named after a line in a Toomer poem), which featured Muhal Richard Abrams and Steve McCall among others and November Cotton Flower ( 1979 Baystate Japan ) with Hilton Ruiz.

From 1971 to 1976, he taught at Bowdoin College, Brandeis University, Colby College, and Amherst College, and in 1976 he earned a master's degree in ethnomusicology from Wesleyan University.

His master's thesis was entitled "Faces and Places: The Music and Travels of a Contemporary Jazz Musician".

During this time, he also studied South Indian flute with P. Vishwanathan.

He left high school in the 10th grade and joined the army.

During his three-year enlistment, he played alto saxophone, clarinet, and baritone saxophone, and was stationed in Hokkaido for some time.