Trio '77 (Remastered) George Muribus

• 1 Token (Remastered) 05:14
• 2 Giant Steps (Remastered) 05:54
• 3 Champotch (Remastered) 05:39
• 4 Augmented Investments (Remastered) 08:38
• 5 Greensleeves (Remastered) 05:16
• 6 Plane Six (Remastered) 07:21
• 7 Subject to Change (Remastered) 08:07
• Total Runtime 46:09

Info zu Trio '77 (Remastered)

On the cusp of jazz fusion’s evolution, 'Trio '77' stands as a testament to George Muribus’s unique vision and voice in a rapidly changing musical landscape. Each track carries a spirit of exploration, as the trio navigates through intricate rhythms and harmonic complexities, making it clear that these musicians weren’t just playing notes – they were shaping an experience.

"Ambling into the Wally Heider Studios in San Francisco in late March to catch George Muribus trio recording session during an academic quarter break from my college professorial gig, I landed into a welcoming nest of friends who were also there to add to the affair.

Basking in the warm solar and sonar rays of the Muribus Trio were guitarist Michael Howell and pianist Flip Nunez. Of George, Michael was quick to comment, ""He has the opposite problem of most musicians; that is, he has absolutely no problem playing anything. He's so deep musically, you have to be on your toes or he'll leave you. George forces you to create. That's what makes music happen.""

Flip Nunez, a pianist I've dug for over fifteen years is an astute and penetrating observer of the idiom. His assessment of George is based on a close relationship of many years. The duality of the intellectual/intuitive aspects of George Muribus reflect evidence based on experience. George and Flip worked together for about four years as a duo before and after an association with Azteca. ""We started because we couldn't afford a bassist, so we played the bass line for each other on the piano. And it was at that time Coke Escovedo recruited us into Azteca."" They also played in a variety of other contexts in the post-Azteca period.

Flip related, ""I have told George that he's like the leading exponent of everyone else's tunes. His versatility and tune repertory is amazing. He knows more of my own tunes than I do myself. I even had to consult him about the music for my own record, I have encouraged him to do some of his own tunes. When I first met George, Bill Evans was just coming into making his mark in the jazz world. Bill opened up the piano for George and a whole generation of pianists to get away from trying to play tight like Bud Powell and beboppers like Hamp Hawes,""

As a result of this transition, George in effect moved into a medium which released him from heavy classical influence. This phenomenon is further articulated in bassist Len Lasher, now in his thirteenth season with the San Francisco Symphony; he and George have been playing together for eighteen years - an easy, natural interaction which is more intuitive than intellectual. George adds to this introduction of the unusual three-member mutualistic association with his judgement of drummer Lee Charlton, ""Lee fits so well into our mode which is saying a whole lot. It's not simple for drummers to play this kind of thing without stepping all over his toes,""

There are four compositions by Len Lasher on the record, ""His tunes are so musical in their organization and his lines are always challenging, hauntingly interesting,"" described George, ""they're very meaty to improvise on.""

In reference to Len's playing, George noted, ""Instead of letting his personality get in the way, Lenny remains consistently sensitive and open."" Listening to Len's magnificent playing on the record brings no surprise in his acknowledgements of such prime influences as Eddie Gomez, Scott La Faro, Stanley Clarke, Richard Davis and Charles Mingus. Early on Len had put in two and one-half years at Julliard along with diverse experiences arching from Tommy Flanagan's group to the American Symphony Orchestra. Referring to his jazz-biased playing, Len exclaimed, ""This is the real music; the other is food on the table. I do love both of these kinds of music, but I find it easy to express myself in jazz.""

It is clear that Lee Charlton's music is also a component of the triadic blend of the trio's total equation, George amplifies his support for Lee's contributions, ""Lee plays in a style I like - free flowing, completely spontaneous, making it fun to play with. There is a liquid side of Lee's music which is like a deep sea, sometimes creating an ethereal quality which I find very complimentary to my complicated long (sometimes overly long) lines. It takes a special kind of drummer to create his own space while he's following mood changes."" Dig Lee's exquisite brushwork it's certainly conducive to the flowing naturalness of the trio's acoustic music.

Max Roach was Lee's seminal influence. ""Max left the deepest impression on me although I must hasten to add Paul Motian and Billy Cobham, too."" Lee has found a consolidation of dimensions, ""I like to feel that I can be free. I like to explore. I know I must accompany. All three aspects are in comfortable balance. And, of course, George allows me plenty of freedom. He's such a beautiful pleasure to play with."" Like Flip and Len, Lee admires the incredible level of discipline inherent in George's playing although he abhors discipline per se and has an aversion to practicing.

George is, indeed, a celebratory being: ""All my gigs have to be fun. We should be happy when we're making music. I fool around with it a lot."" Len's TOKEN is reminiscent of a Tristano-ish bebop excursion with innu endos a la Lee Konitz and Warne Marsh. It's a kind of minor blues in a genre which I personally identify with. GIANT STEPS suggests early Coltrane-isms. It's in 5/4 time, 5/4 is a time signature everyone loves, because the changes don't come back so fast,"" relates George.

Champagne and Scotch equals CHAMPOTCH, a potion which is essentially a bass line superimposed by the melody. Len stretches out and he is ""scary"" AUGMENTED INVESTMENTS is primarily a free tune, smacking of an antithesis to diminishing returns with a series of augmented chords without resolution.

The familiar GREENSLEEVES is another 5/4 trip which engenders strong images of Bill Evans, ""When I first heard Bill's Village Vanguard trio record which included La Faro and Motian, I really thought it was all rehearsed. Wow! It blew my mind when I realized what fantastically creative music it really was!""

PLANE SIX consists of several variations of 6/4 bars, George considers it one of the most enjoyable, engaging Lasher tunes to play because of its substance and challenge.

Finally, SUBJECT TO CHANGE, a long lovely line with rich improvisation drops the curtain for Trio '77.

The synergetic music on this record attests to the magnitude of the George Muribus Trio's quality to transmute inner perceptions into musical essays It's much like what Canadian ecologist Pierre Dansereau calls the person's ""inscape"" expressed in an ""outscape"" of reshaping the environment (or music) a perpetual process cycle. Trio ""77 is a joyous point in the score of the cycle. (Dr. Herb Wong)

George Muribus, piano
Len Lasher, bass
Lee Charlton, drums

Recorded A WALLY HEIDER STUDIOS, San Francis, March 20, 1977
Engineered by VANCE FROST
Recorded At SAGE & SOUND STUDIOS, Hollywood
Engineered by JAMES MOONEY
Produced by PAT BRITT

Digitally remastered

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