Trumpeter Brad Goode may be approaching a decade spent in Boulder, Colorado, but his heart will always belong to Chicago. Goode was born in The Windy City and, though the twists and turns of life took him elsewhere, he returned there to do his master's degree at DePaul University and launch his career. He held court at the legendary Green Mill from the mid-'80s through the late '90s, holding down a weekly gig that would often find hometown heroes like saxophonist Von Freeman joining him, and he recorded and released his first recordings while living in this Midwestern musical mecca. ...read more
Tight Like This is trumpeter Brad Goode's fourth Delmark release and it's clear, perhaps more so than with any of his previous three, that his musical path is littered with subtle delights the like of which take their time to appreciate. Sure, he's capable of virtuosic flight as much as any highly accomplished trumpet player, but he knows that in these early years of the twenty-first century it takes something more than that to catch the ear. So, while his quartet is one of the most beautifully integrated units out there, it's clear there's something extra special ...read more
Chicago-native trumpeter Brad Goode is steeped in the tradition. His previous Delmark offering, Nature Boy (2008), was very well-received for its conservative yet creative approach toward standards in a quartet format. He returns, delving deeper into jazz styles of the 1920s and '30s, updating them in a wonderfully lo-fi way. Tight Like This celebrates the early trumpet pioneers, most notably Louis Armstrong and Bix Beiderbecke. Changes," composed in 1927 by Walter Donaldson ("My Blue Heaven" and Yes Sir, That's My Baby"), was intended as a vehicle for cornetist Bix Beiderbecke, while the latter was playing in the ...read more
Trumpeter Goode is one of those musicians for whom the post-bop continuum fits like the proverbial glove. In the still far from overdone setting of trumpet and rhythm section he brings something fresh, to pieces such as the title track and I Remember You." Both almost literally qualify for the term venerable and do indeed in view of the number of times they've found their way onto record.
Goode's muted playing on the last of these, exudes a restless air which amongst other things serves to keep him at odds with pianist Jeff Jenkins's elegant urbanity; indeed it serves to ...read more
Trumpeter Brad Goode brings a mixed bag to this recording. He set his sights on pop tunes from the past and the present, jazz standards, a Latin tune as well as his own work. They serve him well. He dips in and brings out the nuances and the range, turning this into a recording well worth listening to.
Goode opens with Nature Boy. It is an astute choice for it gives him an avenue to show his ability to make a melody bloom and to improvise. He brings in a bright, sunny air venting the underlying joy. His innovations are ...read more
Trumpeter Brad Goode marks his return to Delmark Records with Nature Boy, a hard-blowing quartet session featuring sympathetic support from pianist Jeff Jenkins, bassist Johannes Weidenmuller and drummer Todd Reid. A well-conceived program of standards and originals, the disc is a tremendous showcase for Goode's ever-evolving, fresh approach to performing and composing.
Goode's command of the trumpet allows for plenty of risk-taking moments, drenched with technical astonishment and raw emotion. With an abundance of melodic ideas, the Chicago native walks a musical tightrope, creating a rush of improvised suspense. His free-flowing approach, most notably on I Remember You and No ...read more
This well-programmed set of originals and standards showcases Brad Goode's first-rate trumpet playing. On the opening title track, Goode enters mysteriously in his solo, before darting around and interacting deftly with the rhythm section, particularly drummer Dana Hall.
The rhythm section, comprised of Hall, pianist Adrean Farrugia (whose advanced harmonic conception and lyricism recalls Herbie Hancock) and bassist Kelly Sill, shifts gears seamlessly on Thelonious Monk's Bemsha Swing. The rhythmic juxtaposition is excellent, especially during Farrugia's spot. Goode's fresh interpretation of the head is a delight; the opening theme statement and the restatement of the theme at the ...read more
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