Marion Brown Three for Shepp (Impulse, 1998 -original release 1967)
reviewed by Micah Holmquist
December 28, 1999

A number of elements make Three for Shepp seem more like a historical piece than a musical work. The album was, at least in appearance, the milestone of saxophonist Marion Brown’s career. Thus it is difficult to put to this record in a narrow musical context. Furthermore Impulse has released the album in CD format as part of its "New Thing" series. The label has thus made it hard to consider Three for Shepp without comparisons to releases by the likes of John Coltrane and Pharoah Sanders. Finally the original linear notes from 1967 by Frank Kofsky spend far more time arguing that "New Music" such as this is an important part of Black Liberation than they do actually looking at the music. There is a lot of merit to this last argument and using these other factors as a guide to understanding Brown’s work. But the music is valuable is on its own terms and that is what I plan to focus on.

Brown came to fame by working with Sun Ra, the previously mentioned John Coltrane, and Archie Shepp, for whom the disc is named. Kofsky’s linear notes do reveal that Brown had a behind the scenes association with Ornette Coleman. It is thus less surprising than it would be otherwise that Three for Shepp is more indebted to Coleman’s music than to any of Brown’s more public mentors. The disc has six cuts and two distinct sections. The first three tunes are original Brown compositions while Shepp wrote the remaining three - hence the title Three for Shepp. Trombonist Grachan Moncur III and bass player Norris Jones (Sirone) appear on all of the pieces as does Brown. Brown uses a different pianists and drummers for each section. The saxophonist and his associates did, however, record all of the tracks on December 1, 1966.

First up are the three original Brown compositions which feature Dave Burrell on piano and Bobby Capp on the kit. Burrell and Capp actually deliver the most interesting parts of the first cut, "New Blue." Burrell has some splashes that recall Cecil Taylor while Capp delivers a drum solo that is unconventional for its subdued and meditative qualities. "Fortunato," the next tune, opens with some harmonizing from Brown and features some more worthwhile work from Burrell but it is Jones and his just beneath the surface lines that stand out. "The Shadow Knows" completes the section with three chaotic but still brooding minutes.

In contrast to the first three tracks, there is a much happier feel to the three Shepp compositions. Pianist Stanley Cowell and drummer Beaver Harris join Brown, Moncur, and Jones and the group taps into the funky qualities that are so prevalent in Shepp’s work. "Spooks" has a quick pulse that Brown accentuates by playing similar runs with minor variations. "West India" again showcases Brown but this time he uses a greater variety of space and stretches out over the entire piece. Jones also gives a memorable solo. The closer, "Delicado," alternates from being quick to a more leisurely pace with ease. This tune, like the two before it, features Harris on the skins and he adds immeasurably to the overall sound. Harris both keeps the tempo but does so with a big groove and constantly progressing groove. Cowell puts in an excellent solo for his part.

There is a lot of strong material on this disc. Brown can deliver a quick-witted response much like Coleman. This quality appears most prominently on Three for Shepp but the somber expression of people like Coltrane is also there. Anybody that likes the music of either of those two performers -or Shepp’s music for that matter- should check it out.

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