Wit the re-issue of this fine recording, and the aforementioned duet album with Fred Hersch, the guitarist once again should be the name on every discerning listener’s lips. Not to be missed.
ECM 1139 / 883 7397 LP (Luminessence series)
Mick Goodrick (guitar); John Surman (soprano & baritone saxophone, bass clarinet); Eddie Gomez (double bass); Jack DeJohnette (drums)
Recorded November 1978
This is undoubtably one of the most important ECM albums of its time, and indeed of anytime. Made available as part of the labels Touchstone series to commemorate ECM’s 50th anniversary in 2019 it is once again good to have this recording available on vinyl.
Mick Gooderick’s importance as a guitarist, teacher, and mentor cannot be underestimated. He has taught and influenced many in his time as a tutor at Berklee and through private tuition. Never one to seek the limelight his live appearances and recording were few and far between, but when he did enter the recording studio, the resulting music was very special.
Goodrick’s contribution to Gary Burton’s groups of the 1970’s brought a dimension to the music that complimented the leader’s vibraphone and group concept perfectly as can be evidenced on Burton’s The New Quartet recorded in March 1973 testifies, and also importantly introduces the guitarist to Manfred Eicher.
The association led to Eicher inviting Goodrick to make a record under his name. Flying to Europe for the session, the producer had assembled the line up heard here, and after a day’s rehearsal, the tapes rolled.
Brining some music with him, Goodrick’s compositions seem to suit the musicians and straight away there is a sense of unity. The opening ‘Feebles, Fables and Ferns’ recently heard on the recently released CD of the same name (and recorded a decade apart) with pianist Fred Hersch and based on the standard ‘Baubles, Bangles and Beads’ features the baritone saxophone of John Surman and superb solo from the guitarist accompanied by some expressive and fascinating drumming from DeJohnette. The long ‘In The Tavern of Ruin’ finds Surman switching to soprano with a probing solo, but again it is Goodrick’s playing that makes the ears prick up whether in his subtle accompaniment and original voicings or consistently inventive solos.
Flip the album over and ‘Summer Band Camp’ boasts a lively melody and brisk tempo with bass and drums propelling along a fiery solo from John Surman on soprano alongside lyrical offerings from Goodrick and Eddie Gomez. A delicate opening statement from the guitarist introduces ‘Pedalpusher’ prior to the entry of Surman’s sonorous bass clarinet, but the greatest surprise comes with the closing ‘In Passing’.
All four compositions heard up until this point are written by Goodrick, and although hardly a prolific writer, it is unlikely that they would have run out of material prior to the session ending; a decision was made to record a free improvisation. Tonal in nature and centered around a single chord, this spontaneous composition delivers some of the most thrilling and inspiring music of the date. Surman spins lyrical and sinewy lines on soprano saxophone encouraged by some equally inventive playing from Jack DeJohnette while bassist Eddie Gomez keeps the music grounded, often echoing the soprano’s phrases. Underneath it all Goodrick’s sparse and original chordal accompaniment bring a further depth to the music that is unfolding in real time.
A genuine innovator and original voice on the guitar Mick Goodrick was in danger of becoming forgotten, overwhelmed by the volume of guitarists currently active who he no doubt influenced or mentored. Wit the re-issue of this fine recording, and the aforementioned duet album with Fred Hersch, the guitarist once again should be the name on every discerning listener’s lips. Not to be missed.
