Track listing
Show track credits
- A1 Detour Ahead 7:55
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piano
-
drums
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composition
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composition
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composition
-
- A2 Goodbye 9:17
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piano
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drums
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composition
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- B1 Old Devil Moon 5:46
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piano
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drums
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composition
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composition
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- B2 SKJ 6:45
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composition
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piano
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drums
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trumpet
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arranger, conductor
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- B3 Opus de Funk 6:41
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piano
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drums
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composition
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- Total length: 36:24
Rate/Catalog
Catalog
Set listening
Review
To rate, slide your finger across the stars from left to right.
4 Reviews
Mainstream vibraphone jazz album. Could have been recorded by any professional-level musician, anywhere, any time since 1960.
A bit dull.
A bit dull.
Published
Under the supervision of producer Creed Taylor, and during their contracts with the label, many CTI recording artists have alternated between lushly produced albums with the participation of orchestras of strings and/or horns, and others when they were just backed by stripped-down, almost minimal combos; the quality of the albums was never directly related to the number of participants – and many examples proof the contrary –yet, and normally, the more the players the bigger the chart success.
In this type of logic “Goodbye” may be considered the poor brother of Sunflower: in addition to the reeds & strings orchestra, the core group of sideman included more sonorous names, and even the choice of tracks on the latter was meant to produce a stronger commercial impact, in what proved to be an happy confluence of pretty successful strategies;
In extremis , one could speculate the realization of “Goodbye” counted with what it could benefit from the scraps of good will and impetus that had made its predecessor possible; as a matter of fact, these December 1973 sessions did not even yield enough material to decently fill-up the two sides of the vinyl LP, and the producer had to resort to an outtake from previous December “Sunflower” sessions, to not be forced to issue a diminutive half-hour long album; unless, the inclusion of “SKJ” ( which had to wait 25 years to regain its rightful place in “Sunflower” CD reissues) was a perspicacious and/or deceitful marketing maneuver where Hancock, Hubbard and Cobham names on the cover, functioned as baits for unaware buyers.
In any case, the Jackson penned “SKJ”, the only non-cover number on the album, is a solid track, which for good or bad somehow breaks the albums continuity and introduces diversity, reaches rousing intensity during Hub’s solo, and Hancock, who remains acoustic, energizes Cobham to a second exciting sequence.
Also a CTI solo recording artist and always an in-demand flutist at the time, the excellent Hubert Laws makes a very interesting partner for Jackson, and although the inexistence of originals from either musician in the track list could lead us into thinking they were just filling contractual obligations, the fact is that the vibes/flute blend is both unusual and magic, and the two men communicative synergies nurture a lot of vibrant Jams with elegant statements and dialogues as on the dynamic take on Horace Silver’s “Opus De Funk”, or side by side vibrantly lead the infectious swing of Burton Lane’s 1947’s “Old Devil Moon” propelled by Ron Carter tireless walking-bass, Steve Gadd’s insistent ride cymbal and trademark dry thuds, intersected and impelled by agile flam-paradiddles (or whatever those energetic, mind-blowing drum rolls are called) noteworthy and inspired elements that already identified his promising, young drummer style.
On the much covered Herb Ellis/Lou Carter’s “Detour Ahead”. the group initially goes into ballad pace, yet Jackson somehow overexploits his master of ceremonies role, who always gets the most solo space, and instead of leaving Laws work a song tailored for him, and in spite of some emotive sequences, indulges in some accelerated and exaggerated exhibitionism that spoils the song’s mood; also soothing are the title track’s initial choruses, flute and vibes mingling to create a crystal clear melancholic and sad mood, which Cedar Walton rapid, syncopated chord slashes (and fine ensuing Rhodes solo – as a matter of fact he’s completely gone electric on the album, so the spirit of the times oblige!), Gadd juggling and drums’ manipulations and Carter inventive lines, never let fall on syrupy or anesthetic terrain, on the contrary, as the song’s spirit is subtly molded and altered, reaching previously unexpected levels of thrilling joy .
Not Jackson magnum opus for sure, but definitely worth the detour suggested by the arrow on the cover shot.
In this type of logic “Goodbye” may be considered the poor brother of Sunflower: in addition to the reeds & strings orchestra, the core group of sideman included more sonorous names, and even the choice of tracks on the latter was meant to produce a stronger commercial impact, in what proved to be an happy confluence of pretty successful strategies;
In extremis , one could speculate the realization of “Goodbye” counted with what it could benefit from the scraps of good will and impetus that had made its predecessor possible; as a matter of fact, these December 1973 sessions did not even yield enough material to decently fill-up the two sides of the vinyl LP, and the producer had to resort to an outtake from previous December “Sunflower” sessions, to not be forced to issue a diminutive half-hour long album; unless, the inclusion of “SKJ” ( which had to wait 25 years to regain its rightful place in “Sunflower” CD reissues) was a perspicacious and/or deceitful marketing maneuver where Hancock, Hubbard and Cobham names on the cover, functioned as baits for unaware buyers.
In any case, the Jackson penned “SKJ”, the only non-cover number on the album, is a solid track, which for good or bad somehow breaks the albums continuity and introduces diversity, reaches rousing intensity during Hub’s solo, and Hancock, who remains acoustic, energizes Cobham to a second exciting sequence.
Also a CTI solo recording artist and always an in-demand flutist at the time, the excellent Hubert Laws makes a very interesting partner for Jackson, and although the inexistence of originals from either musician in the track list could lead us into thinking they were just filling contractual obligations, the fact is that the vibes/flute blend is both unusual and magic, and the two men communicative synergies nurture a lot of vibrant Jams with elegant statements and dialogues as on the dynamic take on Horace Silver’s “Opus De Funk”, or side by side vibrantly lead the infectious swing of Burton Lane’s 1947’s “Old Devil Moon” propelled by Ron Carter tireless walking-bass, Steve Gadd’s insistent ride cymbal and trademark dry thuds, intersected and impelled by agile flam-paradiddles (or whatever those energetic, mind-blowing drum rolls are called) noteworthy and inspired elements that already identified his promising, young drummer style.
On the much covered Herb Ellis/Lou Carter’s “Detour Ahead”. the group initially goes into ballad pace, yet Jackson somehow overexploits his master of ceremonies role, who always gets the most solo space, and instead of leaving Laws work a song tailored for him, and in spite of some emotive sequences, indulges in some accelerated and exaggerated exhibitionism that spoils the song’s mood; also soothing are the title track’s initial choruses, flute and vibes mingling to create a crystal clear melancholic and sad mood, which Cedar Walton rapid, syncopated chord slashes (and fine ensuing Rhodes solo – as a matter of fact he’s completely gone electric on the album, so the spirit of the times oblige!), Gadd juggling and drums’ manipulations and Carter inventive lines, never let fall on syrupy or anesthetic terrain, on the contrary, as the song’s spirit is subtly molded and altered, reaching previously unexpected levels of thrilling joy .
Not Jackson magnum opus for sure, but definitely worth the detour suggested by the arrow on the cover shot.
Published
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Goodbye is probably the weakest of his CTI albums. Whereas Olinga and Sunflower had real stand out moments, this album is definitely much more of a background affair. Sill very nice though, like has been pointed out, this is good post-work bar music.
Published
a nice, 'kick back and relax' album from milt. this is the kind of music to be played at bars for serious patrons, most likely the kinds that cater to the martini crowd. serious conversations can be had with these smooth and sensual groovers playing in the background. "goodbye", "skj", are the more intruiging cuts on this fine keeper of an album.
Published
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