Having covered the Panel Discussion for Sunday the music needs its due.
Where else but the Vision Festival, in the US at least, would you find a night given to two participants in that legendary extended fanfare the world knows as Ascension. One still works among us,
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data-original-title="" title="">Marion Brown was a wonder. He was among the early inventors of mixed medium work incorporating poetry, visual arts and the timbres of alto saxophone and flute. He was most avid to work with early explorers from the AACM when they began to leave Chicago.
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data-original-title="" title="">Wadada Leo Smith when both lived along different parts of the Connecticut River valley. They collaborated on a memorable run of Impulse releases, a favor passed from Coltrane to Wadada carried by Mr. Brown.
Marion Brown was also a rigorous ethnomusicologist and had an elaborate correspondence with Kwabena Nketia from Ghana.
They worked out a number of specific features generally common to nearly all African and African Diaspora musical forms. While anyone is welcome to incorporate them from any culture, the combination creates recognizable sonic signatures and suggests patterns of relationship between the Mother Land and the New World.
Among these are the use of hocquet, poly rhythm and poly meter, ululation and sonic texture or buzz called the mirliton effect. All in all, it is a very useful orientation and is among his many under appreciated contributions.
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