Altena. While in Europe, Brown met and befriended Gunter Hampel, and in 1968 they recorded the soundtrack for Marcel Camus' film Le temps fou, with a band featuring Steve McCall, Barre Phillips, and Ambrose Jackson. Brown and Hampel recorded two more albums, Gesprächsfetzen (in 1968) and Marion Brown In Sommerhausen (in 1969). While in Europe, Brown also performed in duos with Leo Smith, recording Creative Improvisation Ensemble. Return to U.S. In 1970, Brown returned to the United States, settling in Connecticut, where he at first worked in elementary schools, "teaching children how to make instruments and create their own music," and where he continued his musical partnership with Leo Smith. He composed and performed incidental music for a Georg Büchner play, Woyzeck. From 1971 to 1976, he taught at Bowdoin College, Brandeis University, Colby College, and Amherst College, and in 1976 he earned a Master's degree in ethnomusicology from Wesleyan University. His master's thesis was entitled "Faces and Places: The Music and Travels of a Contemporary Jazz Musician". During this time, he also studied South Indian flute with P. Vishwanathan. In the early 1970s, Brown also recorded a trilogy of albums influenced by poet Jean Toomer, reflecting on his southern upbringing, in which "images of the Georgia countryside, many of them drawn from Toomer's poetry, and improvisational techniques of African, AfroAmerican, and European provenance enrich and revivify one another:" Afternoon of a Georgia Faun (1970, ECM), which featured Anthony Braxton, Bennie Maupin, Jeanne Lee, Chick Corea, and Andrew Cyrille among others; Geechee Recollections (1973, Impulse!), which featured Leo Smith and Steve McCall among others; and Sweet Earth Flying (1974, Impulse!, named after a line in a Toomer poem), which featured Muhal Richard Abrams and Steve McCall among others. Reviewer Robert Palmer wrote: "The trilogy as a whole is an exemplary demonstration of how... a thoughtful artist can explore a 'subject' through a variety of techniques, processes, and formal disciplines. The shifting of perspective and approach from work to work is reminiscent of Durrell's Alexandria Quartet and indeed Brown's examination of the emotional, intellectual, and aesthetic ramifications of his origins is the sort of thing one finds frequently in literature and rarely in improvisional music. During the 1970s, Brown also recorded with Archie Shepp (Attica Blues, 1972 and Attica Blues Big Band Live At The Palais Des Glaces, 1979), Leo Smith (Duets, 1973), Elliott Schwartz (Duets and Soundways, both 1973), Stanley