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Jerry Goodman
Jerry Goodman
Jerry Goodman
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Goodman performing in London in 1970

Jerry Goodman (born March 16, 1949) is an American violinist known for playing electric violin with The Flock and the jazz fusion ensemble Mahavishnu Orchestra.

Career

[edit]

Jerry Goodman was born on March 16, 1949, in Chicago, Illinois. His parents were both members of the string section of the Chicago Symphony Orchestra, and his uncle was the noted composer and jazz pianist Marty Rubenstein. Jerry was trained in a conservatory before he began his musical career as The Flock's roadie and subsequently as a violinist.

After his 1971 appearance on John McLaughlin's album My Goal's Beyond, he became a member of McLaughlin's original Mahavishnu Orchestra lineup until the band broke up in 1973, and was viewed as a soloist of equal virtuosity to McLaughlin, keyboardist Jan Hammer and drummer Billy Cobham.

In 1974, after Mahavishnu, Goodman and Mahavishnu alum Hammer released the jazz fusion album Like Children. Starting in 1985 he recorded three solo albums for Private Music—On the Future of Aviation, Ariel, and the live album It's Alive with collaborators including Fred Simon and Jim Hines—and went on tour with his own band, as well as with Shadowfax and The Dixie Dregs. He scored Lily Tomlin's The Search for Signs of Intelligent Life in the Universe and is the featured violinist on numerous film soundtracks, including Billy Crystal's Mr. Saturday Night and Steve Martin's Dirty Rotten Scoundrels. His violin can be heard on more than fifty albums from artists ranging from Toots Thielemans to Hall & Oates to Styx to Jordan Rudess to Choking Ghost to Derek Sherinian. Goodman has appeared on four of Sherinian's solo records—Inertia (2001), Black Utopia (2003), Mythology (2004), and Blood of the Snake (2006)

In 1993, Goodman joined the American instrumental band, The Dixie Dregs, fronted by guitarist Steve Morse. Goodman appeared on one studio recording Full Circle (1994), and the live album "California Screamin'" (2000). In 1996 Session violist and producer Ray Tischer featured Goodman on the award-winning CD Canciones del Sol/Britt Bossa Orchestra (band)[1] on Tischer's original instrumental Toca del Angel.

After an absence from the public eye in live concert, he toured in 2004 and 2005 with Gary Husband in his group Gary Husband’s Force Majeure, and appeared on the DVD Gary Husband's Force Majeure - Live at the Queen Elizabeth Hall. Even more recently, he played with the San Diego–based fusion group Hectic Watermelon and with Dream Theater in their album Black Clouds & Silver Linings. Goodman has also been a part of Billy Cobham's Spectrum 40 tour.

Discography

[edit]

As leader

With The Flock

With Mahavishnu Orchestra 1971–1974: First incarnation: Jerry Goodman, John McLaughlin, Jan Hammer, Rick Laird, Billy Cobham

With Jan Hammer

With John McLaughlin

With Dixie Dregs

With Howard Levy, Oteil Burbridge, and Steve Smith

As a guest artist

Multimedia

[edit]
[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jerry Goodman

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Jerry Goodman (born March 16, 1949) is an American violinist best known for his pioneering work on in and genres. Goodman was born in , , where he received classical training before transitioning to rock and influences in the late 1960s. He first rose to prominence as a founding member of the Chicago-based rock band The Flock, contributing to their albums The Flock (1969) and Dinosaur Swamps (1970), which blended with improvisational elements. In 1971, Goodman joined the influential supergroup , led by guitarist John McLaughlin, where his virtuosic playing featured prominently on landmark albums such as (1971) and (1973), helping define the era's fusion sound. Beyond these ensembles, Goodman has maintained a diverse career as a , collaborating with artists including on their 1988 album Ooh Yeah! and Styx on tracks from the 1999 album , while also recording solo projects like It's Alive (1987) and the collaborative album Like Children (1975) with keyboardist . He later worked with the progressive rock band on their 1992 album Bring 'Em Back Alive and continued performing in fusion contexts, including with Gary Husband's . Goodman's style, characterized by explosive solos and genre-blending improvisation, has earned him recognition as one of rock's most distinctive violinists.

Early Life and Education

Family Background

Jerry Goodman was born on March 16, 1949, in , , into a musically rich environment that profoundly shaped his early development as a violinist. His parents served as members of the in the , where they performed classical repertoire professionally throughout much of their careers. This background placed Goodman in close proximity to high-level orchestral music from infancy, fostering a deep familiarity with the and string instruments. Goodman's uncle, Marty Rubenstein, further enriched this musical household as a noted composer and jazz pianist whose work included film scores and jazz compositions.

Musical Training

Goodman began his musical training in childhood in , where his family's involvement in the city's symphonic scene provided strong motivation to pursue music professionally. Both of his parents played in the string section of the , immersing him early in the world of classical performance. From a young age, he attended a conservatory in for violin studies, receiving rigorous instruction in classical repertoire and technique. This formal emphasized precision, bowing methods, and interpretation of works by composers such as Bach, Beethoven, and Mozart, building a solid technical foundation. Through these studies, Goodman developed exceptional dexterity on the , positioning him for a potential career in . However, he soon recognized his affinity for over rigidly notated scores, which would shape his transition to and rock genres.

Career

Early Bands

In the late , Jerry Goodman entered the professional music scene in by serving as a roadie for local rock bands, including The Flock, while leveraging his classical training to perform sporadically on the instrument. This background allowed him to adapt his conservatory-honed technique to the within the city's vibrant garage and circuits. Goodman formally joined The Flock around 1968, initially filling in as a during a band member's illness before transitioning to his primary role as the group's electric , which infused their sound with jazz-rock elements amid the foundation. His contributions marked a pivotal shift for the Chicago-based , blending improvisational lines with the band's bluesy, progressive tendencies during performances at venues like the Kinetic Playground. With The Flock, Goodman featured prominently on their debut album, The Flock (1969, ), where his drove tracks like "," exemplifying the integration of string improvisation into rock structures. The group's second release, Dinosaur Swamps (1971, ), further showcased his role in extended compositions such as "," highlighting the band's evolution toward fusion experimentation. Goodman departed The Flock in 1971 to explore avenues, leaving behind a legacy of violin-rock innovation in the scene.

Mahavishnu Orchestra Period

In 1971, John McLaughlin recruited Jerry Goodman as the violinist for the original lineup of the , forming the band in New York during the summer after a spontaneous that demonstrated their immediate musical chemistry. Goodman's prior experience with in the Chicago-based band The Flock had prepared him for the demands of amplified ensemble playing. The quintet, completed by drummer , bassist , and keyboardist , debuted live on July 21, 1971, at the Gaslight Au-Go-Go in New York, supporting . Goodman contributed prominently to the band's debut album, , recorded on August 14, 1971, and released later that year, where his work featured in tracks like the opening "Meeting of the Spirits," showcasing soaring solos that intertwined with McLaughlin's guitar lines. He also played on the follow-up , recorded in August 1972 and released in January 1973, further highlighting his role in the group's complex, rhythmically intricate compositions. These recordings established the as pioneers in , blending Indian classical influences, rock energy, and jazz improvisation. From 1971 to 1973, the band undertook extensive tours across and , performing approximately 500 concerts, including high-profile shows at on December 29, 1971, and in on August 17-18, 1973. Their live sets emphasized high-energy and virtuosic interplay, with Goodman's providing spiraling, soulful counterpoints to McLaughlin's incendiary guitar. Goodman departed the group in late 1973 amid internal tensions over creative control, coinciding with the band's dissolution after a final concert in on December 30, 1973. His tenure with the had a lasting impact on fusion violin techniques, introducing an electrifying, innovative approach that influenced subsequent players in the genre through its blend of technical precision and expressive intensity.

Solo and Collaborative Work

Following his tenure with the , Jerry Goodman embarked on solo and collaborative endeavors that highlighted his violin prowess in more intimate and experimental settings, often drawing on the synthesizer-driven fusion aesthetics he explored during that period. His debut collaborative album, Like Children (1974), paired him with former keyboardist on Nemperor Records, blending Goodman's with Hammer's synthesizers and drums across tracks that fused jazz-rock with melodic introspection. Notable for its innovative , the album features violin-synthesizer interplay on pieces like "Draw the Line," where Goodman's soaring lines intertwine with Hammer's electronic textures to create a sense of ethereal dialogue. Recorded at and , Like Children marked Goodman's first exercise in independent creative control, emphasizing duo dynamics over ensemble complexity. In the mid-1980s, Goodman signed with the label, releasing a series of solo albums that showcased his versatility across fusion, ambient, and classical crossover styles. His label debut, On the Future of Aviation (1985), explored atmospheric violin passages supported by subtle electronic backings and guest musicians, reflecting a shift toward more contemplative compositions. This was followed by Ariel (1986), a more -centric effort with tracks like "Tears of Joy" highlighting lyrical melodies and intricate phrasing, often evoking a sense of serenity amid rhythmic undercurrents. Culminating the trio, the live album It's Alive (1988), captured at Chicago's Park West, documented Goodman's unaccompanied improvisations and ensemble performances, underscoring his technical command and improvisational flair in a concert setting. These releases on established Goodman as a solo artist capable of bridging roots with broader instrumental landscapes. Beyond his own recordings, Goodman contributed as a session violinist to over 50 albums during the and 1980s, integrating his into pop, rock, and fusion contexts. He appeared on ' Ooh Yeah! (1988), providing on the track "Downtown Life," which added a distinctive fusion edge to the duo's sound. Similar contributions graced Styx's (1999), where he provided violin on "What Have They Done To You," emphasizing his ability to enhance mainstream productions with improvisational violin flourishes. Goodman's soundtrack work in this era extended his reach into film, notably as the featured violinist on the score for (1992), where his playing infused Billy Crystal's comedy with emotive string layers that complemented the narrative's nostalgic tone. This contribution exemplified his growing role in projects, blending classical techniques with contemporary scoring demands.

Later Projects and Reunions

In the 1990s, Goodman joined the instrumental rock band Dixie Dregs, led by guitarist Steve Morse, contributing violin to their live album Bring 'Em Back Alive (1992) and studio album Full Circle (1994). He also participated in the band's live performances during this period, culminating in the 2000 live recording California Screamin', captured from shows in 1999 that featured his violin work alongside core members like Morse and bassist Dave LaRue. These tours extended through 2000, blending Goodman's fusion style with the Dregs' progressive rock foundations. Following a period of relative seclusion from live work, Goodman toured in 2004 and 2005 with drummer Gary Husband's ensemble , a group inspired by the Orchestra's intensity and featuring musicians like trumpeter and keyboardist Jim Beard. The collaboration resulted in the live DVD Live at the Queen Elizabeth Hall in 2005, showcasing Goodman's in reinterpreted material during European and U.S. dates. Goodman maintained collaborative ties with keyboardist Derek Sherinian through the mid-2000s, appearing on four of his solo albums: Inertia (2001), Black Utopia (2003), Mythology (2004), and Blood of the Snake (2006), where his violin added melodic layers to Sherinian's progressive metal-jazz fusion sound. These projects extended Goodman's involvement in high-profile studio sessions, often alongside guitarists like Allan Holdsworth, bridging his earlier fusion era with contemporary instrumental rock. Into the 2020s, Goodman has engaged in sporadic live performances and recordings, adapting to post-pandemic constraints with limited tours and virtual elements while focusing on fusion revivals. In 2024, he reunited with original Flock members, including bassist Jerry Smith and harmonica player Howard Levy, for The Return of the Flock's performance at Ravinia's opening concert in Highland Park, Illinois, marking a nostalgic return to the band's progressive jazz-rock roots. This event highlighted his ongoing violin prowess in live settings. In 2025, Goodman featured prominently on The Haas Company's Vol. 4: Thirteen, a fusion album that pairs his expressive playing with the ensemble's modern jazz-rock arrangements, underscoring his continued relevance in the genre.

Musical Style

Influences

Goodman's musical style was profoundly shaped by his classical roots, stemming from a family immersed in orchestral tradition and his own formal education. His parents played in the string section of the Chicago Symphony Orchestra. This foundation provided the precision and expressiveness that became hallmarks of his playing across genres. In exploring jazz, Goodman looked to pioneering violinists such as Stéphane Grappelli and Jean-Luc Ponty, whose improvisational approaches to the instrument in jazz settings inspired his own fusion explorations. Observers have noted that Goodman's lyrical and swinging violin lines often evoke Grappelli's gypsy jazz flair, while Ponty's electric innovations paralleled his shift toward amplified, genre-blending performance. These jazz elements infused his work with a sense of spontaneity and melodic freedom. Goodman's immersion in the vibrant rock scene during his early career with The Flock exposed him to the raw energy of , particularly the electric experimentation of guitarists like . Critics and peers frequently compare Goodman's aggressive, effects-laden solos to Hendrix's groundbreaking guitar work, highlighting how he adapted rock's intensity and distortion to the violin for a visceral, amplified sound. This rock influence added a bold, electrified edge to his style, bridging classical poise with high-energy improvisation. Through his collaborations in the , Goodman integrated Eastern musical elements, drawing from modal scales and intricate rhythmic patterns rooted in Indian classical traditions, as championed by bandleader John McLaughlin. These influences, encountered during intensive rehearsals and performances, enriched his harmonic vocabulary and rhythmic complexity. Such Eastern infusions were particularly evident in the band's groundbreaking fusion recordings, where they blended seamlessly with his Western training.

Techniques and Innovations

Jerry Goodman's pioneering adoption of amplification enabled the instrument to compete with the high volumes of rock and fusion ensembles, providing sustained tones essential for intricate solos and ensemble interplay. By fitting acoustic violins with pickups and using powerful amplifiers, he achieved a penetrating sound that matched the intensity of electric guitars and drums, fundamentally expanding the violin's role in amplified genres. He integrated effects pedals innovatively, employing wah-wah and —via devices like distortion pedals—to impart guitar-like expressiveness to the , transforming its into a versatile voice within jazz-rock fusion. This approach, which added bluesy inflections and dynamic sweeps, allowed Goodman to mimic rock phrasing while retaining the 's melodic agility, influencing subsequent electric string players. Drawing from his classical training, Goodman developed a hybrid bowing and fingering technique that fused precise classical control with , facilitating rapid scalar runs and double stops suited to fusion's complex rhythms. His aggressive produced raw, energetic lines, while unconventional holding positions and extensive —borrowed from guitar techniques—enhanced rhythmic drive and textural variety. In live settings, Goodman's innovations extended to , where he traded extended solos with bandmates, blending rock-influenced phrasing with fluid, guitar-derived bends for spontaneous, high-energy exchanges that defined fusion's exploratory ethos. This method emphasized real-time adaptation, prioritizing melodic invention over rigid structure.

Discography

Solo Albums

Jerry Goodman's solo discography reflects his transition from jazz fusion roots to more atmospheric and electronic-infused explorations, often showcasing his in intimate or improvisational settings. His debut solo effort, Like Children (1974, Nemperor/), was a collaboration with former keyboardist , featuring violin-synth duets that blend contemplative, New Age-precursing pieces with funky jazz-rock fusion elements. The album, recorded at , emphasizes the duo's interplay, producing tracks that alternate between serene electronic progressions and energetic improvisations. After a decade focused on group projects, Goodman returned to solo work with On the Future of Aviation (1985, ), an delving into fusion with dynamic, rhythmic structures and progressive undertones. The record incorporates lively sequences alongside sad and nostalgic moods, avoiding obscurity while highlighting Goodman's over layered electronic textures. This release marks his shift toward broader sonic landscapes, integrating ambient influences with fusion sensibilities. Ariel (1986, Private Music) further explores atmospheric violin compositions, presenting a balanced showcase of Goodman's solo playing in a style less rooted in his earlier rock-fusion intensity. Recorded in , the album draws on adult alternative and progressive electronic genres, creating ethereal soundscapes through tracks like "Tears of Joy" and " for Joey." It emphasizes melodic over high-energy , reflecting Goodman's evolving interest in symphonic and ambient rock elements. The live album It's Alive (1988, ), captured at Chicago's Park West on September 16, 1987, underscores Goodman's improvisational prowess in a fiery fusion of , rock, and . Featuring electrifying violin performances amid ensemble support, the recording includes extended tracks that highlight spontaneous energy and technical in a concert setting. The CD edition expands on the vinyl release with additional improvisations, preserving the raw vitality of Goodman's stage presence. Goodman's solo output evolved further toward electronic and eclectic territories with Violin Fantasy (2016, Purple Pyramid), a compilation blending new recordings, rare tracks, and covers of classics like Metallica's "." This instrumental collection incorporates classical influences with rock energy, featuring tone poems that reimagine popular material through Goodman's lens, signaling a continued experimentation with electronic and crossover elements.

Band and Group Albums

Jerry Goodman's contributions to band and group albums span several influential jazz-rock and fusion ensembles, where his work added distinctive melodic and improvisational layers to the collective sound. With The Flock, a Chicago-based jazz-rock group, he served as lead ist on their early releases, blending with improvisational elements. The debut album The Flock (1969, ) featured tracks like "Store Bought, Store Thought," showcasing Goodman's soaring violin lines amid the band's horn-driven arrangements. This was followed by Dinosaur Swamps (1971, ), which expanded on the group's experimental fusion style with extended jams and Goodman's prominent violin solos, such as on the title track. Goodman's most renowned band work came during his tenure as violinist in the original , led by guitarist John McLaughlin, from 1971 to 1973. The group's debut (1971, ) captured their high-energy fusion of , rock, and Indian classical influences, with Goodman's providing contrapuntal interplay to McLaughlin's guitar on pieces like "Meeting of the Spirits." The live album (1973, ) documented their intense performances, highlighting Goodman's agile, effects-laden in tracks such as "Miles Beyond." Their final release during this period, the live recording (1973, ), featured evolving compositions like "You Know You Know," where Goodman's contributed to the band's spiritual and rhythmic explorations. In the 1990s, Goodman joined the reformed Dixie Dregs, a progressive rock-fusion band fronted by guitarist Steve Morse, as violinist, bringing his Mahavishnu-honed intensity to their intricate, genre-blending sound. He appeared on the compilation Full Circle: The Best of the Dixie Dregs (1994, Capricorn Records), which included new recordings and reworks of classics, with Goodman's violin enhancing tracks like "Cruise Control." Later, on the live album California Screamin' (2000, Magna Carta Records), recorded during their reunion tour, Goodman's violin added fiery solos and harmonies to extended pieces such as "Purple Osmin," reflecting the band's technical prowess.

Guest Contributions

Goodman has contributed violin performances to over 50 albums by other artists, spanning rock, , and genres, showcasing his versatility beyond lead roles. These guest spots often highlight his in targeted tracks, adding distinctive textures to diverse ensembles. In pop-rock, he played on "Downtown Life" from ' Ooh Yeah! (1988, Arista), enhancing the album's upbeat production with layered string elements. Similarly, his work appears on Styx's and releases, including the remake of "Young Man" on (1990, A&M), where it provided melodic accents to the arrangements. Goodman's film soundtrack contributions include violin cues on the original score for Mr. Saturday Night (1992, Elektra), directed by Billy Crystal, contributing to the film's nostalgic jazz-inflected underscore. In progressive and fusion contexts, he featured on multiple tracks of Derek Sherinian's Mythology (2004, InsideOut Music), including violin solos that complemented the keyboardist's intricate compositions. More recently, he delivered prominent violin parts across Thirteen by The Haas Company Vol. 4 (2025, Psychiatric Records and Tapes), blending fusion grooves with improvisational flair. In and , Goodman participated in projects with Shadowfax, such as live performances of "Shadowdance" captured on their 1990 Palm Beach recording (Windham Hill), where his evoked ethereal atmospheres alongside the group's ambient soundscapes. These appearances underscore his broad involvement, from mainstream rock to experimental ensembles.

References

  1. https://www.allmusic.com/artist/jerry-goodman-mn0000845928
  2. https://www.jerrygoodmanviolin.com/
  3. https://jazz-violin.com/American-jazz-violin.htm
  4. https://www.loudersound.com/features/the-story-of-the-mahavishnu-orchestra
  5. https://www.woodviolins.com/jerry-goodman/
  6. https://www.jazzmusicarchives.com/artist/jerry-goodman
  7. https://www.sessiondays.com/2017/10/1986-jerry-goodman-ariel/
  8. https://www.violinist.com/discussion/archive/5646/
  9. https://www.psychedelicbabymag.com/2023/12/the-flock-interview-jerry-smith.html
  10. https://www.goldminemag.com/articles/following-flock/
  11. https://www.allmusic.com/album/dinosaur-swamps-mw0000188566
  12. https://theafterword.co.uk/gods-orchestra-a-chapter-from-bathed-in-lightning-on-the-mahavishnu-orchestra-1971-73/
  13. https://thejazzfusion.com/the-inner-mounting-flame-attracting-the-rock-crowd/
  14. https://jazzfuel.com/the-mahavishnu-orchestra/
  15. https://jazztimes.com/features/interviews/john-mclaughlin-discusses-mahavishnu-orchestra-liberation-time-and-more/
  16. https://www.allmusic.com/album/like-children-mw0000564483
  17. https://www.discogs.com/master/34049-Jerry-Goodman-Jan-Hammer-Like-Children
  18. https://www.allmusic.com/album/on-the-future-of-aviation-mw0000193986
  19. https://www.allmusic.com/album/ariel-mw0000190152
  20. https://www.allmusic.com/album/its-alive-mw0000195187
  21. https://www.progarchives.com/artist.asp?id=2444
  22. https://www.discogs.com/release/13846670-Daryl-Hall-John-Oates-Ooh-Yeah
  23. https://www.discogs.com/release/4999181-Styx-Brave-New-World
  24. https://www.allaboutjazz.com/california-screamin-dixie-dregs-zebra-records-review-by-dave-hughes
  25. https://www.mainlinemedianews.com/2000/08/08/the-dixie-dregs-bring-their-instrumental-sound-to-keswick/
  26. https://music.apple.com/us/artist/jerry-goodman/14462669
  27. https://www.dailyherald.com/20240604/music/members-of-60s-suburban-rock-scene-regulars-the-flock-reuniting-to-open-ravinia-season/
  28. https://progressiverockcentral.com/2025/07/14/the-haas-company-turns-up-the-heat-with-jerry-goodman/
  29. https://mwe3.com/reviews/StratNightManager/
  30. https://www.allaboutjazz.com/musicians/jerry-goodman
  31. https://www.musicstreetjournal.com/interviews_display.cfm?id=100752
  32. https://www.allaboutjazz.com/power-passion-and-beauty-the-story-of-the-legendary-mahavishnu-orchestra-mahavishnu-orchestra-by-john-kelman
  33. https://dtrueman.mycpanel.princeton.edu/rtv/chapter_2.pdf
  34. https://www.youtube.com/watch?v=4vyjbHQj5Pk
  35. https://catchgroove.com/2012/11/26/crate-diggers-gold-jerry-goodman-jan-hammer-like-children/
  36. https://www.progarchives.com/album.asp?id=13021
  37. https://www.progarchives.com/album.asp?id=13708
  38. https://www.discogs.com/release/1630231-Jerry-Goodman-Ariel
  39. https://www.discogs.com/release/3411867-Jerry-Goodman-Its-Alive
  40. https://www.sessiondays.com/2018/09/1988-jerry-goodman-its-alive/
  41. https://www.discogs.com/release/924926-Jerry-Goodman-Its-Alive
  42. https://jerrygoodman.bandcamp.com/album/violin-fantasy
  43. http://www.thatdevilmusic.com/2016/09/cd-review-jerry-goodmans-violin-fantasy.html
  44. https://dmme.net/jerry-goodman-violin-fantasy/
  45. https://www.progarchives.com/album.asp?id=1118
  46. https://www.progarchives.com/album.asp?id=1119
  47. https://www.discogs.com/release/6384280-Dixie-Dregs-California-Screamin
  48. https://www.discogs.com/release/1133523-Daryl-Hall-John-Oates-Ooh-Yeah
  49. http://www.styxtoury.com/articles/styx/1993/930723.html
  50. https://www.discogs.com/release/10111268-Marc-Shaiman-Mr-Saturday-Night-Original-Score
  51. https://www.discogs.com/release/3144697-Derek-Sherinian-Mythology
  52. https://www.discogs.com/release/34705038-Thirteen-Featuring-Jerry-Goodman-The-Haas-Company-Vol-4
  53. https://www.discogs.com/release/15758782-Shadowfax-Shadowfax-Live-At-Palm-Beach
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