Marion Brown ‎– Afternoon Of A Georgia Faun

Label:
ECM Records ‎– ECM 1004, ECM Records ‎– 527 710-2
Format:
CD, Album, Reissue
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Tracklist

1 Afternoon Of A Georgia Faun 17:00
2 Djinji's Corner 18:04

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Credits

Notes

Recorded August 1970 at the Sound Ideas Studio, New York.
Originally released in 1970.

No release date provided.

"Top O'Lin is an instrument that Marion Brown made by attaching tops of cooking pots to a board. It's played with a violin bow, or struck."

℗ © ECM Records GmbH

Barcode and Other Identifiers

  • Barcode: 731452771025
  • Matrix / Runout: 00095 52071 117 01 # 52071718
  • Rights Society: GEMA
  • Mould SID Code: IFPI L008
  • Label Code: LC 02516

Other Versions (5 of 8) View All

Cat# Artist Title (Format) Label Cat# Country Year
ECM 1004 ST Marion Brown Afternoon Of A Georgia Faun(LP, Album) ECM Records ECM 1004 ST Germany 1970 Sell This Version
ECM 1004 Marion Brown Afternoon Of A Georgia Faun(LP, Album) ECM Records ECM 1004 US 1970 Sell This Version
ECM 1004, ECM 1004 ST, 2301 004 Marion Brown Afternoon Of A Georgia Faun(LP, Album, RP) ECM Records, ECM Records, ECM Records ECM 1004, ECM 1004 ST, 2301 004 Germany Unknown Sell This Version
CF 1004, 3100 302 Marion Brown Afternoon Of A Georgia Faun(Cass, Album) ECM Records, Polydor CF 1004, 3100 302 Germany 1970 Sell This Version
ECM 1004, 527 710-2 Marion Brown Afternoon Of A Georgia Faun(CD, Album, RE) ECM Records, ECM Records ECM 1004, 527 710-2 Germany Unknown Sell This Version

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zritelle

zritelle

September 17, 2013
Review by Brian Olewnick
Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous improvised music. Back near its inception in the early '70s, the label issued a wide variety and decent number of challenging avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. One of these was Marion Brown, who, at the time of this session, was about midway between his extreme post- Coltrane explorations and the luscious, down-home evocations of Georgia that he would create for Impulse! over the next few years. He gathered 11 musicians, including a couple from the then current Miles Davis Bitches Brew band (Chick Corea and Bennie Maupin), the then little-known Anthony Braxton, Andrew Cyrille, and the late great vocalist Jeanne Lee for two side-long, wide-ranging pieces. The first, the title track, is a wonderful, percussive evocation of pastoral Georgia, something along the lines of what the Art Ensemble of Chicago were doing around the same time, but without the satire and with a greater sense of serenity. As the flutes, reeds, voice, and piano enter, there is no idea of "soloing"; instead, each contributes to the ongoing, evolving texture of the piece, creating a fabric that's as cohesive as it is unplanned. The remaining cut, "Djinji's Corner," is a bit more fleshed out, a little more "traditional" in one way, though still quite unusual for the time. Again, a reference point might be Art Ensemble works from around the same time, here a mélange of free horns and intense percussion, with Jeanne Lee soaring over the top, mixing words and glossolalia, similar to her stellar work on Carla Bley's Escalator Over the Hill. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier. Afternoon of a Georgia Faun is a lovely, inspired album, a key work in Marion Brown's oeuvre and a recording that belongs in any collection of contemporary jazz.