A great little album from Roy Ayers – a very funky record that's almost all instrumental all the way through! The sound is a bit in the vein of Roy's Live At Montreux set – but funkier overall, thanks to some very heavy rhythms on the bottom – and an approach to the tunes that's short, tight, and very much on the money! In addition to Roy's great vibes, the set also features Harry Whitaker on electric piano, Jimmy Owens and Cecil Bridgewater on trumpets, Garnett Brown on trombone, and Dennis Davis on drums and percussion – all very hip players who really help Roy find the mix of jazz and funk he was going for at the time. Dee Dee Bridgewater sings a bit of vocals on the record, joining Roy on the sublime spiritual track "Love From The Sun" – but most other tracks on the album have a more instrumental approach. The record includes a great remake of Leroy Hutson's track "Giving Love", sung more famously by Voices of East Harlem, and it's also got a nice funky cover of the hit "Brother Louie" – plus the tracks "The Morning After", "Des Nude Soul", "Virgo Red", "Love From The Sun", and "I Am Your Mind". (Original pressing. Cover has a cutout notch and a name in marker on the back.) © 1996-2016, Dusty Groove, Inc.
We realize that there are many different interpretations of the standard grades used for pre-owned vinyl record albums & CD, so we thought we'd offer you the ones that we are working with, so you have an idea what we mean when we give the grade for a non-new item on our pages.
Below are stated conditions for a used vinyl records at Dusty Groove. Grading for the cover should be assumed to be near (within a "+" or "-") the grading for the vinyl. If there is significant divergence from the condition of the vinyl, or specific flaws, these will be noted in the comments section of the item. However, please be aware that since the emphasis of this site is towards the music listener, our main concern is with the vinyl of any used item we sell. Additionally, please note that all of our records are graded visually; considering the volume of used vinyl we handle, it is impossible for us to listen to each record. If we spot any significant flaws, we make every attempt to listen through them and note how they play.
The following grading conditions apply to the vinyl component of an album or single:
If something is noteworthy, we try to note it in the comments — especially if it is an oddity that is the only wrong thing about the record. This might include, but isn't limited to, warped records, tracks that skip, cover damage or wear as noted above, or strictly cosmetic flaws.