Over het album

The more spectacular, mysterious and artistic the music and the more virtuoso, unpretentious the person who plays it, the more the inconspicuous scribblers metamorphose into glowing poets. Practically nothing has not already been written about Geoff Goodman and his guitar style, which is incomparable in every respect, since he showed up for first time in Europe in 1979. For example, bewildered critics called him the "Juan Miro of strings". The "Süddeutsche Zeitung" wrote that he would be "a passionate crossover artist who continually enters the unknown" The Canadian Jazz Magazine "Cadence" dared to define the style of the 59-year-old in an all-compassing fashion with several common denominators: "post-Bop, post-Monk, post-Ornette, post-Dolphy, post-Frisell, post-everything . . ."
Somehow all of this fits to the likable, roguish and somehow ingenious guitarist. For a complete Goodman portrait, however, you should perhaps add his passion for pop, folk and country. But in principle, the Munich citizen by choice has never been "post" anything, but always "present" at every stage of his work. A modern jazz musician without blinders, who is always evolving without ostentatious effects, regardless of whether in collaboration with co-musicians such as Chris Hirson, Charlie Mariano, Mal Waldron, Tony Lakatos, Nicolas Simion, Ed Schuller, Larry Porter, Allan Praskin, Bill Elgart, Thomas Zoller, Krautrock and the avant-jazz pioneers from Embryo or the Albanian singer Fjoralba Turku as well as regardless of whether as a lecturer at the Jazz Project of Freien Musikzentrum München or via a music scholarship from the state capital Munich for "Metal, Wood and Wire" in 2012. With the French tenor saxophonist Matthieu Bordenave, Goodman has now turned his attention on their first joint CD "Invented Forest" back to his favorite band composition: the quintet.