- It was so beautiful, because I remember I went into his office and I was very excited and intimidated, but eager to work with him. He said “Well, how’s your soloing?” Just kinda like an assessment. I said, “Well, I think it's okay.” He said, “Well, how’s your comping?” I said, “Well, I don’t know. I think it’s okay too.” And he said, “Well, then I guess you don’t need to be here.” And I was like, “No, no, no, no. They’re not that good.” [ - aughs.] He was very, very pointedly sweet with me. I know everyone had different experiences and, I think, always positive. But with me, he really engendered a sense of we’re in it together.

- We were kind of research buddies, is how it felt. And so, from those questions, what he was encouraging—or at least my interpretation—was that you need the ability to assess yourself in a productive way and not just a self-hating way. He wasn’t looking for me to say, “Please fix me.” You needed to know where you are and here are ways you can assess it and here are things you can do to improve those things. I still feel like that’s a revolutionary way to work with a student.

https://www.premierguitar.com/mick-goodrick-obituary-julian-lage?rebelltitem=7#rebelltitem7" rel="nofollow - I think back to playing with him … we played a lot together in his office. That was the predominant thing we did. I remember vividly how attuned he was to actual sound. We think of people often who are so versed in pedals to be sound masters … the soundscapes and all this. For me, Mick … I guess the word would be spectrographic, but his sense of decision-making was very much about frequency and balance and volume. And like any great instrumentalist, he had tremendous command over these things. It wasn’t the lack of a point of view about it. It was like listening to someone play Chopin. That’s how it always felt with Mick. He was making decisions that from a frequency sound point of view were deeply compelling. And I’ve always thought that was the baddest thing I’ve ever seen. from www.premierguitar.com