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Most Helpful Customer Reviews on (beta) 2 reviews
8 of 10 people found the following review helpful
one of the greatest 14 Oct 2010
By J. Hintz - Published on
Format: Audio CD
Marion Brown has, it seems, something of a rep as a standard 60s ESP 'freak-out jazz' sax player. if this was true, it might be enough to dismiss his albums (without actually listening to them) as probably well-intentioned but just-as-likely unlistenable. After all, much of the 60s jazz freaking-out, while having effectively made its point at the time, hasn't stood up particularly well to time. (it's more interesting history than it is great music.) Not so in this case! The interplay between Brown's cooing, melodic alto and Cowell's florid piano (perhaps like a slightly more restrained late-Coltrane era Tyner?) is simply stunning on this album. the rhythm section does a find job, too, providing a subtle but quite sophisticated substrate for the beautiful sax/piano play. Buy it!! it might sound crazy, but I rate this as possibly a Top 20 (at least T-50) post-bop saxophone album.
1 of 1 people found the following review helpful
more interesting as music than history 21 April 2013
By Orsetto DiOrsetto - Published on
Format: Audio CD
It is always odd to read and listen to people who claim to understand the music of the 60s: it is rebellion, a dead end, rage music, and so forth. The truth is it was and is music that points in a direction not taken, a possibility, a direction that was closed down in the politics of the late 60s, the 70s and the coming of the Reagan era.

Instead if you actually listen to disks like this one or a host of others from the era (Ayler, later Coltrane, anything from Brown, Shepp, Sunny Murray, or the loft sessions of Sam Rivers, Wildflowers of 1976, which includes many of the then younger artists)you will find the "noise" (see Jacques Attali) that heralds ways of knowing and being that were not taken. Opportunities presented, sounds as real as life left hanging in space, and dissed by those who would not and now cannot listen. What happened, as is well known, is the canonization of jazz from the 40s and 50s, an appropriation into the European status quo that on one level finally offered much deserved dignity to the great musics of Ellington, Parker, Basie, etc. it espouses, but on the other, once again, closes the door to the reality of the musical message (the new Jim Crow, see Alexander, is testimony to the road not taken and closed to traffic, "What's Goin On" reads like the disorientation of a man who believed change really was going to come).
Check this music out (or any of the other other musics I mentioned (or Sun Ra or Miles Davis Agartha) and you will find a planet, or a space ship, that is waiting to take you to other possible worlds, that will tell you of rap before rap, and the appropriation of gangstas like the coon songs of the 1890s). Listen
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