The Cannonball Adderley Quintet
Country Preacher

Wewantsounds is delighted to announce the reissue of Billy Brooks' much sought-after album "Windows Of The Mind," released in 1974 on Ray Charles' Crossover Records. The album, co-produced by Charles and featuring such heavy players as Herman Riley, Calvin Keys and Larry Gales, includes one of the most famous samples in hip hop history in the form of 'Fourty Days' which forms the backbone of A Tribe Called Quest's 1990 anthemic 'Luck of Lucien.' Newly remastered, the reissue comes with original artwork.

Young Jazz Rebels is a Madlib jazz group from the Yesterdays Universe collective. The album Slave Riot, their debut, is an avant-garde free jazz record, a style Madlib has been developing with Young Jazz Rebels since their debut on 2006's Chrome Children compilation with the track “Nino's Deed.”An alternate take of “Nino's Deed” is included on Slave Riot, with 17 others – sounds ranging from heavy rhythm (“The Legends of Mankind”) to electro-jazz fusion (“Forces Unseen”, “Black Freedom”) to the sparse and experimental heard in the 2-part album centerpiece, “Slaved Riot”.Inspired primarily by independent and experimental jazz vinyl from the late 60s, 70s and 80s, Slave Riot begins and ends with audible vinyl static, and it's packaged uniform with Madlib's other new jazz release, Miles Away: CD with heavy-boarded mini-gatefold LP-style package with a “tip-on” gatefold photo and inner sleeve. The double LP is printed with a duo-tone black panther on front & back.Young Jazz Rebels: Melvin Hampson, Juggy Lewis, Lena Hamilton, Mary Jane, Tyrone Crumb, Lamont Parker, Monk Hughes, Brother Dave L. Produced & Arranged by Madlib.

Naná Vasconcelos was to become a world-renowned percussionist who retrieved the berimbau (a Brazilian single-stringed instrument, intrinsically linked to the Capoeira tradition) from its natural environment and raise it to a universal level.Agustín Pereyra Lucena, on the other hand, became the undisputed representative of Brazilian music in Argentina entering also the world of jazz, becoming a respected musician in Argentina and abroad, both in its interpretative and didactic facets.Two musicians who achieved an unmatched symbiosis with their respective instruments. Two masters who understood music differently from the rest of us, without barriers or prejudices.This encounter, as spontaneous and sincere as the music resulting thereof, was facilitated by the hyperactive producer, radio broadcaster and music journalist Arturo Cavallo. Vasconcelos had arrived in Buenos Aires to accompany the famous Argentinean saxophonist Leandro “Gato” Barbieri in the series of concerts held at the Teatro Regina and organized by Cavallo himself. Due to their obvious musical connection, he was introduced to Pereyra Lucena after one of the performances and instigated by Cavallo, the two musicians agreed to enter the studio the next day to record the songs that would eventually make up this album, subsequently released in Cavallo’s label Tonodisc. Without any prior arrangements, the session was an improvised exchange of ideas, all recorded in absolute darkness at Naná’s request.It would take years for these two musicians to meet again, remaining this record as the only document of a crucial moment in the beginning of their careers.