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Marion Brown Live In Bremen 1969


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The recording from April 24, 1969 in the venue "Lila Eule" (purple owl) in Bremen is already known.                          https://rateyourmusic.com/release/unauth/marion-brown-quartet/lila-eule-bremen-24_04_1969.p/                                                              https://jazznblues.org/jazz/marion-brown-quartet-lila-eule-bremen-1969/

 

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Got this the other day and have been listening to it quite a bit. It's a really substantial document, clocking in over 150+ minutes. Sound is quite good. The music is very expansive in scope and dynamic for being a club date. No blowing exercises, everything seems rehearsed and worked over and the band plays as a band, not Marion plus. And 2,5 hours of Steve McCall is always going to be welcome.

Above all it's great to have this much more music from Marion's early European period, I think this is when his playing was at its peak (i.e. Porto Novo, Le Temps Fou, In Sommerhausen, Gesprächsfetzen). He was always a personal player with a quiet confidence, but I think this is when that confidence was at its strongest, and when he's beginning to take in some new concepts and techniques that will eventually come to flower on Afternoons of A Georgia Faun, Sweet Earth Flying, and Geechee Recollections-- namely the amount of sheer space in this music. It really breathes.

Can't recommend this enough, if you're on the fence at all, get off it.

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12 minutes ago, colinmce said:

Got this the other day and have been listening to it quite a bit. It's a really substantial document, clocking in over 150+ minutes. Sound is quite good. The music is very expansive in scope and dynamic for being a club date. No blowing exercises, everything seems rehearsed and worked over and the band plays as a band, not Marion plus. And 2,5 hours of Steve McCall is always going to be welcome.

Above all it's great to have this much more music from Marion's early European period, I think this is when his playing was at its peak (i.e. Porto Novo, Le Temps Fou, In Sommerhausen, Gesprächsfetzen). He was always a personal player with a quiet confidence, but I think this is when that confidence was at its strongest, and when he's beginning to take in some new concepts and techniques that will eventually come to flower on Afternoons of A Georgia Faun, Sweet Earth Flying, and Geechee Recollections-- namely the amount of sheer space in this music. It really breathes.

Can't recommend this enough, if you're on the fence at all, get off it.

Thanks - off the fence 😊

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17 hours ago, colinmce said:

Got this the other day and have been listening to it quite a bit. It's a really substantial document, clocking in over 150+ minutes. Sound is quite good. The music is very expansive in scope and dynamic for being a club date. No blowing exercises, everything seems rehearsed and worked over and the band plays as a band, not Marion plus. And 2,5 hours of Steve McCall is always going to be welcome.

Above all it's great to have this much more music from Marion's early European period, I think this is when his playing was at its peak (i.e. Porto Novo, Le Temps Fou, In Sommerhausen, Gesprächsfetzen). He was always a personal player with a quiet confidence, but I think this is when that confidence was at its strongest, and when he's beginning to take in some new concepts and techniques that will eventually come to flower on Afternoons of A Georgia Faun, Sweet Earth Flying, and Geechee Recollections-- namely the amount of sheer space in this music. It really breathes.

Can't recommend this enough, if you're on the fence at all, get off it.

Thank you very much for this post !

It is a pity, that this recording wasn't issued during Marion's lifetime. It was his entry intro into Germany! But he is not mentioned in the booklet as composer of some of the tracks!

CD1: 01: Gesprächsfetzen https://discog.piezoelektric.org/marionbrown/r/gespraechsfetzen.html

CD1: 02: Ode to Coltrane https://discog.piezoelektric.org/marionbrown/r/offering.html

CD1: 03: Exhibition https://discog.piezoelektric.org/marionbrown/r/marionbrownquartet.html

CD2: 03: Juba Lee https://discog.piezoelektric.org/marionbrown/r/jubalee.html

Sideman Sigi Busch (b) has posted on facebook: „Überraschung. 1969 habe ich in der Lila Eule mit dem amerikanischen Saxophonisten MARION BROWN, dem Schlagzeuger Steve McCall und dem Bremer Posaunisten Ed Kröger gespielt. Radio Bremen hat damals mitgeschnitten und nun nach so langer Zeit sind die Aufnahmen als Doppel CD veröffentlicht worden. Wirklich hörenswert, was und vor allem was wir da gespielt haben. Frisch und munter und sehr kommunikativ.“

"Surprise. In 1969 I played in the Lila Eule with the American saxophonist MARION BROWN, the drummer Steve McCall and the Bremen trombonist Ed Kröger. Radio Bremen recorded at that time and now, after such a long time, the recording have been released as a double CD. Really worth hearing what and above all what we played there. Fresh and lively and very communicative."

 

Edited by optatio
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2 hours ago, colinmce said:

Got this the other day and have been listening to it quite a bit. It's a really substantial document, clocking in over 150+ minutes. Sound is quite good. The music is very expansive in scope and dynamic for being a club date. No blowing exercises, everything seems rehearsed and worked over and the band plays as a band, not Marion plus. And 2,5 hours of Steve McCall is always going to be welcome.

Above all it's great to have this much more music from Marion's early European period, I think this is when his playing was at its peak (i.e. Porto Novo, Le Temps Fou, In Sommerhausen, Gesprächsfetzen). He was always a personal player with a quiet confidence, but I think this is when that confidence was at its strongest, and when he's beginning to take in some new concepts and techniques that will eventually come to flower on Afternoons of A Georgia Faun, Sweet Earth Flying, and Geechee Recollections-- namely the amount of sheer space in this music. It really breathes.

Can't recommend this enough, if you're on the fence at all, get off it.

Just got off the fence, thanks for the push

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