He was inspired by Lionel Hampton, seeing him at early age play in Benny Goodman’s big band. Milt Jackson was hooked on the vibraphone at that moment and became one its legendary players. He’s the primary link between Hampton’s up-tempo, big-band swing style and new wavers like Gary Burton
Discovered by Dizzy Gillespie, Jackson played with greats from Dizzy and Woody Herman to Monk and Charlie Parker. He was a founding member of the Modern Jazz Quartet and is considered the father of bebop and post-bop vibes.
Jackson's “Sunflower” album was recorded for the CTI label in Rudy Van Gelder’s studio in late 1972 and released in 1973. His band for the sessions included Herbie Hancock (piano), Ron Carter (bass), Billy Cobham (drums), and Freddie Hubbard (trumpet). Hancock and Carter played together in one of Miles’ quintets and Cobham worked later as Miles’ drummer. Like sunflowers themselves, the tunes on this album are happy, radiant pieces with just enough sophistication to make them serious and interesting.
CTI’s favorite Don Sebesky arranged the four lengthy tunes on the album. They’re all luscious; gorgeous really. This is interesting since Sebesky was often accused of an easy-listening slant, which is certainly not the case with “Sunflower.” How could it be with those jazz legends joined by 11 violinists and a harpist?
The most noteworthy piece is What Are You Doing The Rest Of Your Life, written by Alan and Marilyn Bergman and Michel Legrand for the 1969 movie “Happy Ending,” starring Jean Simmons. It’s a graceful, elegant piece with violins alternating under and with Hubbard’s trumpet, Hancock’s piano, and Jackson’s vibes. This song seems to reflect Jackson’s overall approach to the album. It’s truly an ensemble cast of equal players and not a forum featuring his vibraphone.
People Make The World Go Round starts with a syncopated beat that quickly segues to a funk sensibility. It reminded me of the Philly funk sound that was so popular in the early and mid-70s. I did not know until just now, however, that this song was a Stylistics hit in 1972; they of Philadelphia funk acclaim. The tune Sunflower was actually written by Freddie Hubbard, originally released on his 1967 “Backlash” album and called Little Sunflower. It has some marvelous Latin-jazz elements.
The cover photograph was shot by the late-Pete Turner. His 2006 book, “The Color of Jazz” (Rizzoli) has been added to my book list. The front and back covers of the album feature 11 ostriches with long, graceful necks glowing at sunrise or sunset, conveying every bit the sense of sunflowers. Yes, except some of them are turned away from the sun in a most unsunflower-like manner.
Producer Creed Taylor and his CTI team used many of the same artists across their portfolio of jazz albums in the 70s. As was the case here, these include photographer Pete Turner, arranger and conductor Don Sebesky, engineer Rudy Van Gelder, and musicians such as bassist Ron Carter.
