Gil Goldstein

Trackimage Playbut Trackname Playbut Trackname
Sous Le Ciel De Paris (Sous Le Ciel De Paris Coule Le Seine) 00:00 Tools
Turkey In The Straw 00:00 Tools
In My Life 00:00 Tools
Alice In Wonderland 00:00 Tools
A Whole New World 00:00 Tools
Beauty And The Beast 00:00 Tools
From Russia With Love (007/From Russia With Love) 00:00 Tools
You've Got A Friend In Me 00:00 Tools
If I Fell - From A Hard Day's Night 00:00 Tools
Can You Read My Mind - Superman 00:00 Tools
Punk Jazz 00:00 Tools
How Deep Is Your Love (Saturday Night Fever) 00:00 Tools
When You Wish Upon A Star 00:00 Tools
Zip-A-Dee-Doo-Dah 00:00 Tools
Emmanuelle Theme 00:00 Tools
Green Leaves Of Summer - The Alamo 00:00 Tools
Morning After (The Poseidon Adventure) 00:00 Tools
What A Wonderful World (Good Morning Vietnam) 00:00 Tools
Detour Ahead 00:00 Tools
La Wally (Diva) 00:00 Tools
A Whiter Shade Of Pale (New York Stories) 00:00 Tools
A Whole New World (Aladdin) 00:00 Tools
Some Day My Prince Will Come 00:00 Tools
Calling You - Baghdad Café 00:00 Tools
"On Golden Pond" Main Theme - On Golden Pond 00:00 Tools
Taxi Driver (Taxi Driver) 00:00 Tools
Dance Of The Sugar Plum Fairy 00:00 Tools
The Sounds Of Silence - Composed Or Made Famous By: The Graduate 00:00 Tools
The Moon Struck One 00:00 Tools
A Dream Is A Wish Your Heart Makes 00:00 Tools
Disney's Main Street Electrical Parade 00:00 Tools
Once Upon A Time In America - Deborah's Theme 00:00 Tools
Three Views Of A Secret 00:00 Tools
Liberty City 00:00 Tools
Sarah's Touch 00:00 Tools
New Cinema Paradise (New Cinema Paradise) 00:00 Tools
The Heart Asks Pleasure First - From The Piano 00:00 Tools
Theme From Schindler's List - From Schindler's List 00:00 Tools
Donna Lee 00:00 Tools
Twin Peaks Theme (Twin Peaks) 00:00 Tools
Baby Elephant Walk - Composed Or Made Famous By: Hatari 00:00 Tools
Three Women 00:00 Tools
Olha Maria 00:00 Tools
Bass Solo 00:00 Tools
Whistling Medley 00:00 Tools
Unchained Melody (Ghost) 00:00 Tools
Good Morning Anya 00:00 Tools
Green Leaves Of Summer (The Alamo) 00:00 Tools
Boplicity/Some Skunk Funk 00:00 Tools
Percussion Solo 00:00 Tools
Moondreams 00:00 Tools
The Camel's Lament 00:00 Tools
Suninga 00:00 Tools
If I Fell (A Hard day's Night) 00:00 Tools
Tears in Heaven (Rush) 00:00 Tools
The Heart Asks Pleasure First (The Piano) 00:00 Tools
Kokomo (Cocktail) 00:00 Tools
Theme From Little Buddha 00:00 Tools
Up Where We Belong (An Officer And Gentleman) 00:00 Tools
Gymnopedie No. 1 (Le Feu Follet) 00:00 Tools
Can You Read My Mind (Superman) 00:00 Tools
Chariots Of Fire (Chariots Of Fire) 00:00 Tools
Once Upon A Time In America - Cockey's Song 00:00 Tools
A Whole New World - Aladdin 00:00 Tools
East of Eden (East of Eden) 00:00 Tools
Everybody's Talkin' (Midnight Cowboy) 00:00 Tools
Black Trombone 00:00 Tools
Twin Peaks Theme - Twin Peaks 00:00 Tools
The Magnificent Seven (The Magnificent Seven) 00:00 Tools
Up Where We Belong - From The Movie: An Officer And Gentleman 00:00 Tools
East Of Eden - From East Of Eden 00:00 Tools
Solace (The Sting) 00:00 Tools
Desafinado (Wall Street) 00:00 Tools
Chariots Of Fire - From The Movie: Chariots Of Fire 00:00 Tools
Kokomo - From The Movie: Cocktail 00:00 Tools
The Phoenicians 00:00 Tools
Theme from Dances With Wolves 00:00 Tools
Intoxicated Man 00:00 Tools
Theme From Schindler's List (Schindler's List) 00:00 Tools
Merry X'mas Mr. Lawrence - Merry X'mas Mr. Lawrence 00:00 Tools
Correnteza 00:00 Tools
Baroque Hoedown ~Disney's Main Street Electrical Parade 00:00 Tools
Loro 00:00 Tools
CHIQUITA LINDA 00:00 Tools
Finding Your Own Way 00:00 Tools
2BE - Balloon Song 00:00 Tools
Someday We'll All Be Free (Malcolm X) 00:00 Tools
Lucky You, Lucky Me 00:00 Tools
Corner Sports 00:00 Tools
Nobody's Heart 00:00 Tools
City Lights 00:00 Tools
FARFALLA 00:00 Tools
Taxi Driver - Taxi Driver 00:00 Tools
Up Where We Belong 00:00 Tools
Kontinuum 00:00 Tools
Simple Arithmetic 00:00 Tools
Casa Blu 00:00 Tools
Silent Night (Stille Nacht) (arr. Gil Goldstein) 00:00 Tools
Whistling Medley/ Give A Little Whistle/ Whistle While You Work 00:00 Tools
CLAVE MARIA 00:00 Tools
SAUTTO 00:00 Tools
Stardust (arr. Gil Goldstein) 00:00 Tools
Tears In Heaven - Rush 00:00 Tools
La Wally - Diva 00:00 Tools
The Magnificent Seven 00:00 Tools
Infinite Love 00:00 Tools
Unchained Melody 00:00 Tools
As Time Goes By 00:00 Tools
What A Wonderful World 00:00 Tools
Moon Dreams 00:00 Tools
Carousel: If I Loved You (arr. G. Goldstein): If I Loved You (arr. Gil Goldstein) 00:00 Tools
La Cigarra 00:00 Tools
Coracao Vagabundo (My Vagabond Heart) 00:00 Tools
Singing Rhythm 00:00 Tools
A Whiter Shade Of Pale (New York Stories) - Artist: Gil Goldstein 00:00 Tools
How Deep Is Your Love 00:00 Tools
Detour Ahead [USA] 00:00 Tools
La Gavina 00:00 Tools
Somthing's Coming 00:00 Tools
Jaco (Instrumental) 00:00 Tools
My Foolish Heart 00:00 Tools
Rain River 00:00 Tools
SKETCHES OF SPAIN TRILOGY 00:00 Tools
The Sands Of Time 00:00 Tools
Someday We'll All Be Free - Malcolm X 00:00 Tools
Improvisation No. 1 00:00 Tools
Lookin' Up 00:00 Tools
Harbour - (Intro) [1/7] (Encontros e Despedidas) [Milton Nascimento] feat. Gil Goldstein 00:00 Tools
I Feel Pretty 00:00 Tools
Gymnopedie No. 1 - From Le Feu Follet 00:00 Tools
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For nearly four decades, pianist/producer/arranger Gil Goldstein has drawn the musical blueprint for some of the most prominent artists in jazz – and in so doing, has become a highly influential figure in his own right. Gifted with an innate sense of compositional structure and harmonic balance, he has forged a diverse career that extends well beyond his own body of recorded work to include alternating turns as an insightful producer, a brilliant arranger and a prolific composer of more than a dozen film scores for the big and small screens. Born in Baltimore in 1950, Goldstein began playing the accordion at age five and made the switch to piano a few years later. His family moved to Silver Springs, Maryland – just outside of Washington, DC – when he was in grade school. After high school, his quest to further his musical knowledge took him to no less than five colleges, starting with two years at American University, followed by a year at Berklee, then two years at the University of Maryland, where he studied piano with Dr. Stuart Gordon and received a bachelors degree in music. He earned a masters degree in music in a single year at the University of Miami, followed by a doctorate from The Union Graduate School. Goldstein’s year in Miami, from 1972 to 1973, proved to be the most important of his early years. “Pat Metheny was a student when I was there,” he says, “and there was also this incredible group of people playing in the Miami area, including Jaco Pastorius and the legendary Ira Sullivan. I had walked into his great jazz scene, completely by accident.” After Miami, Goldstein moved to New York, and spent the reminder of the decade gigging with a variety musicians: Pat Martino, Pat Metheny Billy Cobham, Ray Barretto, Lee Konitz and others. His recording career began in the winter of 1976 when he appeared on three of Martino’s records back to back – Starbright (Martino’s Warner Brothers debut), We’ll Be Together Again and Exit. These three projects proved to be the genesis of his work as an arranger and producer. The electric piano accompaniments he improvised on We’ll Be Together Again signaled the string writing that would eventually follow. Shortly after finishing Martino’s projects, Goldstein cut his first solo record, Pure As Rain, in 1978. Seven more albums would follow, including the acclaimed Zebra Coast in 1992. But even as his recording career was getting under way, Goldstein’s various friends and collaborators began looking beyond his skills as an instrumentalist. And playing jobs began to morph into arranging and producing jobs. Case in point, Jim Hall offered him the dream gig of joining his quartet in the mid 1980s, and Goldstein eventually produced the 1993 Pat Metheny/Jim Hall duet recording, Something Special. He also co-produced, co-arranged and conducted on Hall’s 1997 recording, Textures. However, the turning point came when Goldstein met Gil Evans in 1982 and began playing with the master until his death six years later. The association with Evans changed everything about Goldstein’s musical perspective and his approach to arranging. “Gil Evans was a philosopher,” he says. “He possessed cultural secrets which I have tried to absorb and pass on further.” Goldstein’s career split off in another direction in the ‘80s when he took an assignment to score an ABC After-School Special, Summer Switch, which was also the directorial debut of Ken Kwapis (The Sisterhood of the Traveling Pants, He’s Just Not That Into You, The Office). Goldstein scored two more After-School Specials, and eventually composed music for a series of feature-length motion pictures, including Radio Inside (1994), I Love You, I Love You Not (1997) and Simply Irresistible (1999). He also provided orchestration for film composer Ryuichi Sakamoto’s music for Peter Kosminsky’s Wuthering Heights (1992) and Bernardo Bertolucci’s Little Buddha (1994), and Metheny’s score for A Map of the World (1999). He is also an in-demand accordionist – particularly by film composer Eliot Goldenthal, who has featured him in his music for Frida (2002), Across the Universe (2007), and many others. Despite his work in film, arranging continued to be Goldstein’s creative anchor. “I kept coming back to working with musicians whom I liked and admired, but I didn’t necessarily want to just play with them,” he says. “I thought I could be more effective as an arranger and find ways to make their music resonate and vibrate according to the principles of the overtone series, which he learned through studying with Otto Luening, the 20th century composer who pioneered electronic music in the 1950s. The list of musicians for whom Goldstein has arranged is as impressive as it is lengthy: David Sanborn, Bobby McFerrin, Chris Botti, Milton Nascimento, James Moody, Richard Bona, Randy Brecker, Manhattan Transfer, Al Jarreau and many others. He reconstructed orchestrations for Miles Davis’ Miles Davis and Quincy Jones Play the Music of Gil Evans, which won a Grammy Award in 1993. In addition, he produced and arranged Michael Brecker’s last two recordings – Wide Angles (2003) and Pilgrimage (2007) – both of which also scored Grammys. “I really liked Mike,” says Goldstein. “I was a total fan of his playing, and I liked him as a person. Mike was a bit of a control freak, but the kind that I love and admire. He knew exactly what he wanted and could express it, and when he changed something I wrote, it was clear to me and I understood the intent of the change.” He adds that Metheny, Sanborn and Botti are similar to Brecker in that respect. “The chance to work with people who have clearly defined musical identities is a gift,” he says. “That way, I can morph into their musical personalities. Then I can develop alternate musical styles when I work with them, which increases my scope. Because of this skill, Pat Metheny nicknamed me ‘the Zelig of jazz.’ I’m flattered by that. As a child, I remember telling my mother that I was going to play piano at an assembly, and that I wished I could be invisible when I played, because I felt I could be more creative, more out of sight and less self conscious. I feel that way to this day. As a producer and arranger, I guess I would prefer that the listener ‘pay no attention to that man behind the curtain,’ just like The Wizard of Oz, and instead focus on the artist who’s making the music. In early 2010, Goldstein co-arranged and produced bassist Esperanza Spalding’s latest recording, Chamber Music Society, which is scheduled for release on Heads Up in August 2010. “Esperanza’s process was very similar to Mike’s,” he says. “She is so clear in her direction and offers so much richness in terms of the compositions and what she brings to them. We developed a give-and-take relationship that always progressed the plot and clarified the story of the music. In terms of the younger generation of jazz players, I think she leads the list. In addition to her playing, singing, and composing skills, she’s a natural arranger, who I have learned from and been able to share my knowledge with.” In addition to his work as a producer and arranger, Goldstein has also been a teacher since the mid-1980s – at the Mead School for Human Development, the New School, and New York University. He is the author of The Jazz Composer’s Companion, a collection of interviews with 15 notable jazz composers, a foreword by Bill Evans, and an overview of the musical materials that – as Evans wrote – “impose no style and thus can be used to extend and musician’s vocabulary.” Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.