Bill Dixon in Four Days in December, a series sponsored by the Jazz Composers Guild. The following year, he participated in the recording of Shepp's Fire Music as well as John Coltrane's Ascension. According to Brown, he was introduced to Coltrane by Shepp: "Archie told him about my music and he started to listen to it and he liked it. And then, several times, he would come to hear me play and he liked that. So when he decided to do Ascension, I fit the picture of somebody that he wanted in it." Regarding the music on Ascension, Brown stated: "You could use this record to heat up your apartment on a cold morning." Regarding the recording session, he recalled: "We did two takes, and they both had that kind of thing in them that makes people scream. The people who were in the studio were screaming. I don't know how the engineers kept the screams out of the record. Spontaneity was the thing. Trane had obviously thought a lot about what he wanted to do, but he wrote most of it out in the studio. Then he told everybody what he wanted: he played this line and he said that everybody would play that line in the ensembles. Then he said he wanted crescendi until we were together, and then we got into it." During the mid-1960s, Brown began recording under his own name Marion Brown Quartet, was recorded in 1965 and released on ESP the following year; Why Not?, recorded in 1966 and released on ESP in 1968; Juba-Lee, recorded in 1966 and released on Fontana in 1967; and Three for Shepp, recorded and released in 1966 on Impulse!.). Coltrane had used his influence at Impulse! to secure Brown his own recording date with the label. Brown also performed with Sun Ra and Pharoah Sanders, and recorded with Burton Greene on the album Burton Greene Quartet. In Europe In 1967, Brown moved to Europe, where he continued performing and recording, and where he developed an interest in architecture, Impressionistic art, African music and the music of Erik Satie. He was an American Fellow in Music Composition and Performance at the Cité internationale des arts in Paris. On a show on French television, he played a version of Sound Structure with drummer Eddy Gaumont. Late that year, while in Holland, he recorded Porto Novo with Han Bennink and Maarten