SWEET EARTH FLYING, PART 3
ELEVEN LIGHT CITY, PART 1
Sweet Earth Flying
Impulse : 1974
MB, alto and soprano sax; Muhal Richard Abrams, organ, electric piano, piano; Paul Bley, organ, electric piano, piano; James Jefferson, bass; Steve McCall, drums; Bill Hasson, percussion.
Warn Defever, guitar, piano; Justin Walter, trumpet; Michael Herbst, alto sax; Elliot Bergman, tenor saxophone, Rhodes; Erik Hall, electric piano; Jamie Saltsman, bass; Dan Piccolo, drums; Jamie Easter, percussion; Olman Piedra, congas, cajon.
How can aviation be grounded in such a muddy understanding of the underlying physics? As with many other scientific phenomena, it’s not always necessary to understand why something works to make use of it. We engineers are happy if we’ve got enough practical knowledge to build flying aircraft. The rest we chalk up to magic.
A similar magic is at work in Sweet Earth Flying. Impossible to quantify precisely, involving equal parts sweetness, ground, and uplift, the album presents a spellbinding series of performances from this undersung musical genius.
The third installment in a loose trilogy of albums centered on bucolic themes of a Southern childhood, Sweet Earth Flying presents two side-long suites of music. “Sweet Earth Flying, Part 3″ follows Brown as he evokes something of the late Coltrane quartet’s furious questing, though dialed back, seemingly looking for a level place to land. The first of “Eleven Light City”‘s four parts showcases a harder blowing Brown against a shape-shifting swirl of dueling keyboards, courtesy of Paul Bley and Muhal Richard Abrams. McCall is also killing throughout.
These cuts offer a flavor of the larger suites. Unfortunately, the album itself, like much of Marion Brown’s excellent oeuvre, remains stubbornly out-of-print. If Impulse won’t give this a physical reissue, here’s hoping they’ll remaster it and make it available digitally. It’s a testament to Brown’s music that despite its unavailability, his star continues to rise, at least in rock circles. Superchunk dedicated a song to him and His Name Is Alive went one better.
As a bonus, we’re offering a track from the recent Brown tribute album assembled by His Name Is Alive mainman Warn Defever. HNIA’s version of the title cut highlights the gentler, more atmospheric aspects of the original date. (Thanks to High Two for allowing us to post it.) The rest we chalk up to magic, too.