Mick Goodrick Contact info

[swansong]

I Want to hear more of david as well!! Bad motherfuxker!

[TH]

David, is that recording of you and Mick???!!

No, it's Mick with his soul brother John Abercrombie. I have the rest of the two sets and maybe I'll post them. Mick really enjoyed playing with John (obviously) and they were in really good form here.

David

[marcwhy]

No, it's Mick with his soul brother John Abercrombie. I have the rest of the two sets and maybe I'll post them. Mick really enjoyed playing with John (obviously) and they were in really good form here.

David

Yes, that's what I heard, but it wasn't labeled on your site, so I wasn't sure. Pretty killin' stuff!

[christianm77]

I surely see a convergence in our circles christianm77 and I do hold a great respect for your views, ideas and perspective, just to be clear. And just so we can know the story and let it be taken as it will, the issue centres around artwork which Mick has had displayed in his private albeit official office. We had run sessions going back a decade now; art/music and modeling sessions where musicians and artists alike practiced their art with active discussions on the approaches of right brain thinking. It proved to be a revolutionary approach, and for Mick it meant that his teaching music increasingly drew on techniques and awareness from our art school kin. As far as I knew it was unknown territory to make/teach music within the world of life drawing, painting and modeling/movement.
He had some artwork that depicted the human form, inspirations from all corners of the art world too, which he'd use when teaching drawing as the door that can unlock musical thinking.
Well it seems the powers that be at Berklee found this artwork to be offensive (after systematically sheltering rapists and child molesters on faculty for decades-ironic?) and he was told that his artwork had to be taken down.
It's one thing to use art as a springboard for discussion (one option) and another to be told that what you teach is inappropriate and considered a violation of policy where you are entrusted to broaden the minds of students.

I think that's all that should be said though. Those are the facts that be and Mick was more than saddened by the turn of events. I will say that many students, male, female, rock, jazz, metal, music, art, and educational, have reached out to me and expressed their support for him and their outrage at such blatant ignorant censorship.
Some may ask "What does art have to do with the music I'm paying tuition to learn?". That might be an interesting discussion at some point, there or here.

David

Thanks David, means a lot!

Sounds like Berklee are freaking out then and trying to cover their asses. I can see why Mick would be upset about this turn of event on a number of levels.

I studied a little art at school, including life drawing. I still love visual art.

That last a very interesting question. I do think the guitar draws in visual people especially. (For instance, most of the big guitar stars of the 60s were at art school... It was interesting listening to Jimmy Page talking about painting in an interview the other day... )

[voxss]

[TH]

That last a very interesting question. I do think the guitar draws in visual people especially. (For instance, most of the big guitar stars of the 60s were at art school... It was interesting listening to Jimmy Page talking about painting in an interview the other day... )

So many musicians, and improvising (jazz) musicians especially, have found not only a second calling, but even an augmented world of expression through expanding their music to include the visual arts. I know Jeff Matz here on the forum has an avid interest in art. Schoenberg was deeply and respectably immersed in the emerging movements of the art world, Miles, Tony Bennett, and yeah all the early Brit art school rockers who changed the world, all saw the bridge between art and music...even saw them as the same thing.
It's something that goes beyond the process of creating but the essence of the creative process.
Mick, who'd been the progenitor of such comprehensive detail oriented cataloging of possibilities, realized at some point that it's not art or even the most important thing to have an enormous toolset of working devices and "things" to play if it wasn't an art balancing the left brain details with the right brain connection of everything around you. So though his legacy may be in organization and works like the almanacs, the legacy he left through his students was one of a living art. Right brain music. Timelessness.
Funny that the teaching of music has moved so heavily towards process and detail and it's in the art world that a real sense of right brain awareness takes precedence.

David

[uncivilizedtom]

Hey I'm still looking for this email address-- the berklee email bounces back always. I met him and I'm working on a book about open-string guitar chords (Guitar Uncivilized | The Freak-Jazz Campfire Chord Book.).

Cheers,
Tom

[Jimmy blue note]

Hey I'm still looking for this email address-- the berklee email bounces back always. I met him and I'm working on a book about open-string guitar chords (Guitar Uncivilized | The Freak-Jazz Campfire Chord Book.).

Cheers,
Tom

PM me for his private email. I'll be happy to share it with a forum member that has a genuine interest in connecting.
That's his private email now that he's no longer part of Berklee. He checks it very infrequently but I go through his correspondences regularly and we'll often discuss what's going on with students and friends and people who're reaching out to him.
He doesn't teach, he plays but his contact is very limited. I will say that since he retired (his last semester was cut short by the closing of the school to live teaching at the onset of the pandemic) he has discovered a joy of playing free of any professional obligation. In other words he's playing for his own joy and exploring harmony in a way that is truly uncanny.
There is also a resurgence of small pockets of players, performers and students who have immersed themselves in the Almanac materials and finding truly original ways to realize this material. Some of them have virtual online meetings to share approaches and discoveries. I keep Mick aware of some things people are doing, and sometimes he'll add an insightful comment that pries open something totally unsuspected. He just sees this stuff in a unique way.

[Litterick]

That's his private email....

Not any longer.

Spammers and scammers search the web for email addresses. He will be swamped with unwanted and potentially harmful messages. You should remove the address to minimise the damage.

[Jimmy blue note]

Not any longer.

Spammers and scammers search the web for email addresses. He will be swamped with unwanted and potentially harmful messages. You should remove the address to minimise the damage.

Thanks for the sobering reminder! PM me if you want to contact him.

[Jimmy blue note]

Hey I'm still looking for this email address-- the berklee email bounces back always. I met him and I'm working on a book about open-string guitar chords (Guitar Uncivilized | The Freak-Jazz Campfire Chord Book.).

Cheers,
Tom

A while back Jacob Mattheus and Jackson Fitzgerald collaborated on an impressive work of chordal possibilities wherein they explored open string chord voicings (some of it sounding like those gorgeous chords Ralph Towner uses to such great effect).
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Reach out to them and see if they can give you any of their insights on this topic.
Both of them were Mick's students and working with him at the time they put their (unpublished) work together.