…They also had some impact in jazz circles, though they weren't as significant as the Afro-Latin revolution initiated by Mario Bauza, Machito and Chano Pozo. Olatunji resurfaced in the late '80s on the Blue Heron label with The Beat Of My Drum, a release featuring a 17-piece band that included Carlos Santana and Airto Moreira. He subsequently recorded more sessions for Rykodisc, including a digital remix of "Drums of Passion." In 1997, He recorded and released Love Drum Talk for the Telarc label. In April of 2003, Babatunde Olatunji passed away after a lengthy struggle with diabetes.
Reissue with SHM-CD format and the latest 24bit remastering. Comes with a mini-description. An overlooked chapter in American bossa jazz of the 60s – recordings that weren't nearly as well-circulated as the Stan Getz bossa nova albums on Verve, but which have an equally special sort of sparkle! The arrangements here are by Manny Albam and Al Cohn – who both bring an earlier sense of large jazz charts into play with the tighter rhythms of the bossa – at a level that makes things explode nicely with a sense of color, while still keeping the groove light overall!
Reissue with SHM-CD format and the latest 24bit remastering. Comes with a mini-description. A great chapter in 60s bossa jazz – Zoot Sims "answer" to Stan Getz's bossa work on Verve – recorded in a similar jazz-meets-bossa style, with some great guitar work by Jim Hall! Zoot's solos are a bit tighter and not as laidback as Stan's – giving a more jazz-based sound to the work that makes for a nice change – and most of the tunes feature larger backings from Manny Albam and Al Cohn – never too over-arranged, but with enough of a full swinging sound to set things right. Hall's guitar works surprisingly well in the setting – and titles include "Barquinho De Papel", "Ciume", "Recado Bossa Nova (parts 1 & 2)", and "Cano Canoe".
60s Summer of Love is a stunning collection of 60 tracks that capture the sometimes groovy, psychedelic and populist feel as well as laid back and chilled-out mood of the mid to late 60s through to the early 70s. This was the time when teenagers were discovering and listening to "pseudo-psychedelic" anthems, a groovy collection of mind expanding folk-rock hits from the hip artists of that time and genre, wearing colourful and way-out fashions with flowers in their hair.
Beat Avenue is 60-year-old Eric Andersen's most ambitious album, a 90-minute tour de force that encapsulates his musical and lyrical concerns over a lifetime. The music is often-dense rock dominated by a rhythm section led by guitarist Eric Bazilian of the Hooters. Equally dense is Andersen's highly poetic versifying, which he sings in his gruff baritone. Andersen is world-weary in these songs, roaming the globe haunted by the past and fearful of the future. He confesses to a reckless youth, but acknowledges that he can no longer afford such license. "What once was Charles Bukowski," he sings in "Before Everything Changed," referring to the free-living beat poet, "is now Emily Dickinson." The ballads and love songs "Song of You and Me," "Shape of a Broken Heart," "Under the Shadows," and "Still Looking for You" are rendered tenderly, but they are also full of regret and loss, past-tense reflections that recount memories of love long gone. The first disc of Beat Avenue is complete and formidable unto itself, but there is a second CD consisting of two lengthy songs. The title track, running more than 26 minutes, is a beat poem with jazzy accompaniment by Robert Aaron in which Andersen recalls a poetry reading he attended as a 20-year-old on the day President Kennedy was assassinated.