An archetypal record from the west coast scene of the 50s – a sublime batch of lightly grooving numbers from Chico Hamilton's famous early Quintet! The power here really comes from a triad of three players – reedman Buddy Collette, mentioned in the title and playing flute, alto, tenor, and clarinet; guitarist Jim Hall, whose spacious use of his instrument set new standards with this record; and cellist Fred Katz, often an unsung hero whose gentle sound shapes really helped bring a sense of tone and color to the group. Also featured is bassist Carson Smith, giving the same great sensitive accompaniment here he did in Gerry Mulligan's early quartet – and Chico himself is on drums, of course, but often playing with unusual timings and touches that really make for a lot more than conventional rhythm! Titles include "Blue Sands", "The Sage", "A Nice Day", "Buddy Boo", and "Spectacular" – as well as "Free Form", which is totally improvised – although in a way that's very different from any 60's track that would have the same sort of name! (Black label Pacific Jazz pressing with deep groove. Cover has some splitting.) © 1996-2015, 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.