{"product_id":"7649988716850","title":"Marion Brown - Reference: Marion Brown Capricorn Moon Why Not? \u0026 With Burton Greene Quartet - Import 2 CD","description":"\u003cp\u003eCredits:\u003c\/p\u003e\u003cp\u003eMarion Brown\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDescription:\u003c\/p\u003e\u003cp\u003eThe rhythm section led by Rashid Ali and Reggie Johnson (with former Sun Ra bandmate Ronnie Boykins adding depth to the textural flow exclusively on “Capricorn Moon”) lays a solid foundation, complemented by Alan Shorter’s piercing trumpet and supported by Benny Maupin’s tight, single-note phrasing. The fact that Brown appeared as a sideman on pianist Burton Green’s own, largely overlooked ESP album (recorded just one month later) clearly illustrates how fluid and open to negotiation musical activities were within this nascent community.\nAlthough this quartet performed intermittently with Rashid Ali on drums, Ali was unable to participate in this recording because he was working with John Coltrane at the time. Balanced by Green’s playful clusters of dissonance and melodic developments within the piano, this music affords Brown a wide range of interpretive possibilities. It ranges from the sorrowful symphonic poem “Ballad II” to the fierce rebellion of “Taking It Out of the Ground,” in which Brown’s alto saxophone joins forces with Frank Smith’s unstable tenor saxophone to create a knife-edge tension.\nBrown’s second ESP album, *Why Not*, suggests a transitional phase in his conceptual evolution. It is a shift toward moods that evoke or reveal emotions and programmatic details, ultimately leading to the Southern-set trilogy—*Afternoon of a Georgia Fone*, *Geechi Recollections*, and *Sweet Earth Flying*—that was highly acclaimed in the 1970s. Although the four tracks on *WhyNot* are distinct, they portray Brown as a storyteller, weaving references and allusions to the past into the characters and plot.\n\nFor example, while Stanley Cowell’s extended piano rhapsody and Brown’s crisp alto add variety to the track, the theme of “La Sorella” is borrowed from the song of the same name composed by the French composer Charles Borel-Claire in 1905, which was originally arranged from a Brazilian folk dance. “Fortunato” is an eloquent and poignant ballad in the traditional style, but one might also speculate that the title refers to the ill-fated victim of the same name who appears in Edgar Allan Poe’s short story “The Cask of Amontillado.” (Excerpt from the liner notes)\n\n●Tracks 1–4\n\nMarion Brown, alto saxophone\nAlan Shorter, trumpet\nBennie Maupin, tenor saxophone,\ntrack 3\nReggie Johnson, double bass\nRonnie Boykins, double bass,\ntrack 1\nRashied Ali, drums \u0026amp; percussion\n\n●DISC 1, 4, 5 \u0026amp; DISC 2, 1–3\n\nBurton Greene Quartet\nMarion Brown, alto saxophone\nFrank Smith, tenor saxophone,\ntrack 3 of 2506-2\nBurton Greene, piano, percussion\nHenry Grimes, double bass\nDave Grant, drums,\ntrack 5 on 2506-1\n\u0026amp; track 2 of 2506-2\nTom Price on drums,\ntracks 1 and 3 on 2506-2\nRecorded in New York City,\nNovember 1965\n\n●DISC 2, 4–7\n\nMarion Brown on alto saxophone\nStanley Cowell on piano\nNorris \"Sirone\" Jones on double bass\nRashied Ali on drums\u003c\/p\u003e\u003cp\u003eTracklisting:\u003cbr\u003e\u003cbr\u003e1.Capricorn Moon\u003cbr\u003e2.27 Cooper Square\u003cbr\u003e3.Exhibition\u003cbr\u003e4.Mephistopheles\u003cbr\u003e5.Cluster Quartet\u003cbr\u003e1.Ballade II\u003cbr\u003e2.Bloom In The Commune\u003cbr\u003e3.Taking It Out Of The Ground\u003cbr\u003e4.La Sorella\u003cbr\u003e5.Fortunato\u003cbr\u003e6.Why Not?\u003cbr\u003e7.Homecoming\u003c\/p\u003e","brand":"Alay","offers":[{"title":"Default Title","offer_id":52776501969185,"sku":"7649988716850","price":126000.0,"currency_code":"COP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0568\/8482\/2076\/files\/7649988716850.jpg?v=1779963871","url":"https:\/\/cdsvinyljapan.com\/en-co\/products\/7649988716850","provider":"CDs Vinyl Japan Store","version":"1.0","type":"link"}