SEALED

60s Jazz Holy Grail LP outta California - Mythical album on many Jazz collectors want-lists!180 gram Deluxe Heavy Cardboard Sleeve with OBIThis LP is on the extremely limited and sought after private press label HME. It's a deep, Latin, Afro/Cuban-influenced, primarily acoustic jazz piece. Influences range from the cerebral to the soulful, but it defies any one-dimensional tag like "spiritual jazz" or "soul-jazz" or "jazz-funk." Heralding from L.A. and led by pianist Reggie Andrews, it doesn't sound particularly "west coast".It's a beautiful session all around, really something special and profound. In recent years, Reggie Andrews has taught, mentored, and produced many talented musicians including Patrice Rushen, Terrace Martin, Ndugu Chancler, and the Dazz Band who wrote "Let it Whip" along with his close friend Leon Ndugu Chancler. He is the founder of the jazz-fusion group Karma He worked with Earth, Wind & Fire, produced Moacir Santos for Blue Note Records and served as "Electronics Consultant" for Donald Byrd, and mentoring The Pharcyde to J.Dilla

Hard-to-find Detroit Jazz-Funk ! 180 gram Deluxe Heavy Cardboard Sleeve with OBIAn extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

Xenia França is a singer from Bahia, Brazil. She has been nominated for the 2018 Latin Grammy for this debut album Xenia, and for the song “Pra que me Chamas?”, a favorite among listeners. Part of an art scene concerned with reviving and disseminating the African-Brazilian culture, the singer became a reference of female empowerment and behavior, especially among black women.Xenia has performed at major Brazilian festivals, such as Recbeat, Coala, Coma and Queremos, among others. In 2018 she took to Central Park’s SummerStage Festival in NYC, and has also performed in Philadelphia and at the Pablo Toblón Theater, in Medellin, Colombia.Her first solo effort here, “Xenia”, is an essential album from contemporary Brazil, paying tribute to the sounds of the black diaspora, masterfully blending soul music with jazz, samba, r&b and electronic flavors, now available for the first time outside of Brazil!

Following the success of the special Record Store Day ‘Abu Ali’ edition, we are reissuing a standard version of Ziad Rahbani's mythical Disco 12" which was originally issued in Lebanon in 1978. This reissue on black vinyl features the original artwork, with remastered audio. A highly sought-after EP fetching high prices on the market, Abu Ali is a must-have for all fans of Lebanese groove and collectors of Arabic Funk.Ziad Rahbani is a cultural icon in Lebanon. The musician, pianist and producer is also a renowned playwright and a political activist, one of the most important exponent of the lebanese left-wing counterculture to emerge from the 70s.Coming out of an illustrious artistic dynasty (his father is the famous composer and musician Assi Rahbani, member of group The Rahbani Brothers and his mother is the legendary Middle East Diva, Fairuz), Ziad Rahbani started his music career during his late teens, composing music for his mother.Rahbani quickly spread his wings further. He started producing his own music during the early 70s and released records under his own name at 17. Among these was "Abu Ali" recorded in Greece at the EMI Studios in Athens in 1978 with a full orchestra (there he also recorded his mother's album "Wahdon") and released it as a limited run EP for the lebanese market. Legend has it that the album was only pressed at 500 unit hence its rarity.The result is a fabulous New York-meets-Beyrouth Disco exctasy developing over two 13-min tracks and one of the most collectible albums on the international dance and disco scene which Wewantsounds is happy to finally make available.

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s