Rich Goldstein, a veteran jazz guitarist and educator at the Hartt School of Music, showcases his love for jazz history on his debut release for the Truth Revolution label, Into the Blue. Drawing inspiration from legends like Wes Montgomery, George Benson, and Pat Martino, Goldstein brings a his years of experience to this album. Accompanied by organist Yahn Frankel, vibraphonist Behn Gillece, and drummer Ben Bilello, they craft a sound that honors the golden age of jazz while infusing it with their own swing and soul.
The album commences with the irresistible shuffle of The Beatles' "A Hard Day’s Night," featuring Goldstein's bluesy solos and vibrant contributions from his bandmates. This is followed by a heartfelt rendition of Rudy Stevenson’s "Not a Tear," which Goldstein reimagines in tribute to his late friend and colleague Charles Flores, incorporating a nod to Led Zeppelin's "Since I've Been Loving You." The band also delivers a fresh take on Dinah Washington’s "What a Diff’rence a Day Makes," as well as a bossa nova twist on Stevie Wonder's "You and I," adding a new twist to these standards.
Goldstein’s journey through various jazz styles is evident throughout the album. From the dynamic hard bop of his original “Altered State,” a tribute to Pat Martino, to the sultry blues of Harold Vick’s “Our Miss Brooks,” each track showcases the band’s versatility. Their arrangement of Django Reinhardt’s “Nuages” features a unique rhythmic twist, while Horace Silver’s “Cool Eyes” benefits from the expert touch of pianist Jim Argiro. The album concludes with a heartfelt trio performance of Irving Berlin’s “How Deep Is The Ocean,” a spontaneous addition that highlights the group's chemistry.
A respected figure in the Hartford jazz scene, Goldstein’s career spans over three decades, marked by his performances with notable musicians and his tenure at The Hartt School. His passion for jazz, from his early influences to his deep engagement with the genre, shines through in his recordings and teaching. With three albums as a leader and numerous collaborations, Goldstein continues this journey through the world of jazz guitar.
Richard was kind enough to answer a few questions about his new album and career.
Evan Toth: Wes Montgomery, George Benson, and Pat Martino are key influences for you. Can you pinpoint specific moments or recordings by them that were pivotal in shaping your style? Favorite records?
Rich Goldstein: I purchased a vinyl copy of Wes's “Full House" in my early teens and immediately fell in love with the sound, feel, and compositions. I really didn’t know what jazz was but I knew that there was something authentic and pure in the sounds I was hearing and it really effected me. George Benson and Pat Martino are the continuation of Wes’s pure impeccable approach to jazz guitar. Breezing’ was the first Benson record I bought and I liked that but I had a cassette tape with him singing “The Masquerade is Over” and incredibly fast rhythm changes," Oleo" I think, and a bunch of live cuts and I wore that one out. For Pat El Hombre was one that I listened to over and over.
ezt: You're a big fan of Wes Montgomery, just like one of my favorites Emily Remler was. What aspects of his playing resonate most deeply with you?
rg: Wes built on the swing of Charlie Christian and the bebop movement of the 40’s. His was a pure jazz conception, he happened to choose guitar as his vehicle for expression but if he had chosen piano or horn that pure conception would still be there. Wes was the most organic improviser on the guitar, music flowed out of him. For him it was pure joy. If you watch some of the live YouTube videos sometimes it seems like he is just playing and laughing, even he is surprised at some of the things that just flow out of the instrument. Wes had perfect time, incredible phrasing, beautiful tone, and was steeped in the blues. Emily is also in that line of guitarists off Wes’s branch; it’s sad she passed so young.
ezt: Your cover of "A Hard Day’s Night" is fantastic and you also turn in a version of Stevie Wonder’s “You and I”. What draws you to reinterpret Beatles and other pop songs in a jazz context, and how does their music influence your approach?
rg: I grew up listening to popular music primarily on the radio, so these were songs everyone would hear and know. The development of the American popular music song has a lineage back to the 1800s. The Beatles and Stevie Wonder are the continuation of that tradition in the 1960s-70s. I use the melody and harmony but change or tweak the rhythmic aspects, phrasing, and bits of reharmonization to fit the way I want to sing the song and create the proper conditions for improvisation. Basically any tune with a melody and chord changes is fair game. I liked the way these fit the group, noticed they weren’t recorded too much, and thought they may resonate with listeners
ezt: The jazz guitar and Hammond organ duo is a classic pairing. What’s the chemistry like in creating that sound, and how do you find the right collaborator for it?
rg: I think every guitarist loves to collaborate with B3 players. The sounds are so complimentary, warm, groovy, soulful, bluesy. I think it’s because of the organ gospel tradition that it just evokes that on some level. I enjoyed playing with Yahn from day one, he is a fantastic musician, pianist, arranger, as well as organist. Yahn has really studied swing, stride, bebop, blues and popular music, and so have I, so its great for us to consider all of that as we interpret tunes and improvise together.
ezt: Your Benedetto guitar is stunning. What’s the story behind that beautiful instrument?
rg: Well the one I have is actually a prototype of the Bravo series, it was the eighth one made in the original batch of 10. I played this guitar in the Benedetto booth at JEN in 2017 and couldn’t get it out of my head, it had such good response, tone, and feel. I went again in 2018 and Howard Paul and Jackson Evans were again there and so was the guitar. Usually you have them make you a guitar and it takes a year or so but I asked Jackson if he could sell me this guitar and he said it was the one they had been using as a demo for quite a while and he didn’t think they could sell it. The next day I saw Howard Paul, the head of Benadetto and excellent guitarist, and he said they would be willing if I could wait about 6 months. I have a number of guitars but that has been my main jazz guitar since 2018. It was built by Bob Benedetto and has slightly different bracing than the model they now use as the standard Bravo.
ezt: With your extensive experience in both teaching and performing, how do the classroom and the bandstand influence each other? Do skills from one environment often transfer to the other?
rg: Yes, the skills of being on the bandstand can translate to the classroom. I I often think of things that went wrong or right as a performer and use them to explain scenarios. Ultimately, students learn best by making their own mistakes. Teaching requires much more patience and insight on how to meet a student where they are and lead them to a place where they want to go.
ezt: I've been enjoying recordings from Truth Revolution Recording Collective. How did your collaboration with them come about?
rg: I have known the Curtis family from many years in the Hartford area music scene. Ted, their dad, was always out bringing the brothers to see all the live jazz shows since they were very young. I basically watched Damien, Zaccai, and Luques all grow into the monster musicians they are today. I teach at the Arts High School they attended and me and Zaccai are both faculty at the Jackie McLean Institute so we are friends.The record was already recorded and Zaccai asked me, "do you want to put it out with TRRC" and I said, "hell yeah lets go!"
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