MUSIC REVIEW BY Thierry De Clemensat, Paris Move
*INDISPENSABLE* If the quality of the albums we received in 2024 showed steady improvement, the offerings of 2025 have, from the very start of the year, unleashed a veritable explosion of multifaceted talent. Among these, we find Brad Goode—a trumpeter, multi-instrumentalist, and prodigiously gifted composer—whose artistry shines through in this release. The music is rich, intricate, and particularly compelling in its arrangements. One discerns a seamless fusion of influences ranging from classic jazz, which serves as a foundation, to jazz fusion, and even compositional frameworks borrowed from contemporary classical music. Such a work defies easy encapsulation in a few lines.
To fully grasp the path that has brought Brad Goode to this pinnacle, a glimpse into his biography is essential. Brad began his musical journey at the age of four with the violin, later transitioning to rock guitar at eight. His academic pursuits led him to earn a bachelor's degree in classical trumpet from the University of Kentucky, followed by a master's degree in double bass from DePaul University. His trumpet mentors include luminaries such as Vincent DiMartino, Byron Baxter, Clark Terry, Chris Gekker, and William Adam. His double bass studies were under the guidance of Larry Gray, Donald "Rafael" Garrett, Carroll Crouch, and Eddie DeHaas.
Brad Goode possesses a profound artistic vision, channeling it into compositions where he shapes his sonic universe. His works elevate orchestral sections, magnify instrumental solos, and provide themes that invite creative exploration. This album is decidedly not for everyone; yet, those with a broad musical lexicon will recognize its codes and savor the depth of its artistry. Goode honed his jazz skills in the time-honored tradition of apprenticeship, a path he followed into his thirties. During these formative years, he toured and recorded with luminaries such as Von Freeman, Red Rodney, Eddie Harris, Ira Sullivan, Curtis Fuller, Jack DeJohnette, Ernie Krivda, Eddie Johnson, Rosemary Clooney, Barrett Deems, and Woody Herman's orchestra, among others.
Composing for large jazz ensembles is no mean feat, requiring exceptional mastery of instrumental interplay and the ability to organize and lead sections effectively. Success in such endeavors depends on the collaboration of outstanding musicians, as is evident here.
This gem, set to release shortly, already claims its place among our "essentials," and likely not the last. Here, I find myself equally captivated by the composer as by the musician.
To fully grasp the path that has brought Brad Goode to this pinnacle, a glimpse into his biography is essential. Brad began his musical journey at the age of four with the violin, later transitioning to rock guitar at eight. His academic pursuits led him to earn a bachelor's degree in classical trumpet from the University of Kentucky, followed by a master's degree in double bass from DePaul University. His trumpet mentors include luminaries such as Vincent DiMartino, Byron Baxter, Clark Terry, Chris Gekker, and William Adam. His double bass studies were under the guidance of Larry Gray, Donald "Rafael" Garrett, Carroll Crouch, and Eddie DeHaas.
Brad Goode possesses a profound artistic vision, channeling it into compositions where he shapes his sonic universe. His works elevate orchestral sections, magnify instrumental solos, and provide themes that invite creative exploration. This album is decidedly not for everyone; yet, those with a broad musical lexicon will recognize its codes and savor the depth of its artistry. Goode honed his jazz skills in the time-honored tradition of apprenticeship, a path he followed into his thirties. During these formative years, he toured and recorded with luminaries such as Von Freeman, Red Rodney, Eddie Harris, Ira Sullivan, Curtis Fuller, Jack DeJohnette, Ernie Krivda, Eddie Johnson, Rosemary Clooney, Barrett Deems, and Woody Herman's orchestra, among others.
Composing for large jazz ensembles is no mean feat, requiring exceptional mastery of instrumental interplay and the ability to organize and lead sections effectively. Success in such endeavors depends on the collaboration of outstanding musicians, as is evident here.
This gem, set to release shortly, already claims its place among our "essentials," and likely not the last. Here, I find myself equally captivated by the composer as by the musician.