Sidney Bechet : Sidney Bechet – Live In Paris 1952 to 1958 (3CD set) (CD) -- Dusty Groove is Chicago's Online Record Store
Skip navigation
Scripting is disabled or not working. dustygroove.com requires JavaScript to function correctly.
Style sheets are disabled or not working. dustygroove.com requires style sheets to function correctly.
CD, LP, Vinyl record album cover art
Enlarge       Note

Sidney Bechet – Live In Paris 1952 to 1958 (3CD set)

CD (Item 193142) Fremeaux & Associates (France), Mid 1950s — Condition: New Copy
3CD
Temporarily Out Of Stock

CD

✈
❔
The great saxophonist Sidney Bechet has roots in New Orleans, but found maybe his biggest audience ever overseas – especially in Paris, a city that gave Bechet great opportunities to perform and record, often in ways that he didn't get back home in the US! That's definitely the case here, as the collection of live material within often features extended tracks that go far past the three minute limitations of the 78rpm era, which is how most folks know Bechet's music – titles that open up with longer soprano sax solos, and some great accompaniment from overseas players. The crowd response certainly shows that Sidney's getting reception here that he never would have gotten in the US during the 50s – and the set features 44 tracks in all, with titles that include "I Got Rhythm", "Royal Garden Blues", "September Song", "Coquin De Boubou", "All Of Me", "Moi J'En Ai Marre", "Petite Fleur", "Les Oignons", "As Tu Le Cafard", "Struttin With Some Barbecue", and "American Rhythm".  © 1996-2025, Dusty Groove, Inc.

There may be different interpretations or standards used to grade pre-owned vinyl record albums & CDs. These are the grades that we use and what they mean for items that are not new copies.


Used Vinyl Grades

These are the 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 are described in the item notes. 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, 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:

Sealed

This is what it says, that the record is still held fast in shrink-wrap. We tend to be pretty suspicious about these things, so if the shrink-wrap doesn't look original, or if the record seems to have undergone some damage over time, we'll probably take it out of the wrapper to ensure that it's in good shape — which is why we don't have more of these. In some cases the shrink-wrap may be torn in spots, but if it's not possible the record has been taken out and played, the record will still qualify as "Sealed".

Near Mint

Dusty Groove does not use the grades of Near Mint (or Mint, for that matter) because in our experience, we find that no records ever qualify for such a high grade. Even sealed records tend to have one or two slight faults, enough to usually qualify them for a grade of NM- or lower. We've often found that records which are clearly unplayed will have a slight amount of surface noise, especially in quieter recordings.

Near Mint - (minus)

  • Black vinyl that may show a slight amount of dust or dirt.
  • Should still be very shiny under a light, even with slight amount of dust on surface.
  • One or two small marks that would make an otherwise near perfect record slightly less so. These marks cannot be too deep, and should only be surface marks that won't affect play, but might detract from the looks.
  • May have some flaws and discoloration in the vinyl, but only those that would be intrinsic to the pressing. These should disappear when the record is tilted under the light, and will only show up when looking straight at the record. (Buddah and ABC pressings from the 70's are a good example of this.)
  • May have some slight marks from aging of the paper sleeve on the vinyl.
  • Possible minor surface noise when played.

Very Good + (plus)

  • Vinyl should be very clean, but can have less luster than near mint.
  • Should still shine under a light, but one or two marks may show up when tilted.
  • Can have a few small marks that may show up easily, but which do not affect play at all. Most marks of this quality will disappear when the record is tilted, and will not be felt with the back of a fingernail.
  • This is the kind of record that will play "near mint", but which will have some signs of use (although not major ones).
  • May have slight surface noise when played.

Very Good

  • Vinyl can have some dirt, but nothing major.
  • May not shine under light, but should still be pretty clean, and not too dirty.
  • May have a number of marks (5 to 10 at most), and obvious signs of play, but never a big cluster of them, or any major mark that would be very deep. Most marks should still not click under a fingernail.
  • May not look near perfect, but should play fairly well, with slight surface noise, and the occasional click in part of a song, but never throughout a whole song or more.
  • This is clearly a copy that was played by someone a number of times, but which could also be a good "play copy" for someone new.

Very Good - (minus)

  • Vinyl may be dirty, and can lack a fair amount of luster.
  • Vinyl can have a number of marks, either in clusters or smaller amounts, but deeper.
  • This is the kind of record that you'd buy to play, but not because it looked that great. Still, the flaws should be mostly cosmetic, with nothing too deep that would ruin the overall record.
  • Examples include a record that has been kept for a while in a cover without the paper sleeve, or heavily played by a previous owner and has some marks across the surface. The record should play okay, though probably with surface noise.

Good + (plus)

  • Vinyl may be dirty, or have one outstanding flaw, such as a light residue, which could be difficult to clean.
  • May have marks on all parts, too many to qualify as Very Good-, or several deeper marks, but the record should still be ok for play without skips.
  • In general, this is a record that was played a fair amount, and handled without care. A typical example may be a record which has been heavily played by a DJ, and carries marks from slip cueing. Depending on the quality of the vinyl, may play with surface noise throughout.

Good

  • A record that you'd buy to play, cheap, but which you wouldn't buy for collecting.
  • Will have marks across all parts of the playing surface, and will most likely play with surface noise throughout. May have some other significant flaws, such as residue, or a track that skips.
  • In most cases, a poor quality copy of a very difficult to find record.

Fair

This is a grade we rarely use, as we try not to sell records in very bad condition, though in some rare cases we will list a record in such bad shape that it does not conform to our standards. A "Fair" record will have enough marks or significant flaws that it does not even qualify as "Good", but is a copy you might consider for playing, if you're willing to put up with noise and/or flaws. An example might be a recording with surface noise so heavy that it is equal to the volume of the music. For records listed as "Fair", we will describe the extent of the condition in the notes.

Poor

Like "Fair", we rarely list records in this condition, as they represent the extreme low end of spectrum. These records typically have multiple serious problems, and we offer them as "relics" or "objects" only — for those who want to at least have a copy of a record, even if it is not really worthy of play, perhaps for the cover alone. For these records, we will describe the extent of the condition in the notes.


Used CD Grade

We use the all-encompassing grade "Used CD" for non-new CDs because we only buy and offer used CDs in the best possible condition.

When you purchase a used CD you can expect the disc to be free of all but the lightest of surface marks, the case to be clean (we often change the cases ourselves), and the booklet to be in good shape. Used CDs may show some signs of use, but if there are significant details or defects we describe the item's condition (just like we do with LPs), so look for notes on cutout marks, stickers, promo stamps or other details before ordering.

All of our used CDs are guaranteed to play without skipping or flaws. After you receive a used CD from Dusty Groove, you have 1 week to play it to determine that it plays correctly. If it does not, you can request a return for a full refund.

Used Book Grade

We use the all-encompassing grade "Used Book" for all non-new books.

You can expect each volume to be clean and free of markings, tears or major defects unless mentioned in the notes just like we do with LPs and CDs. Used books may show some signs of handling or age. Specific issues with the condition like remainder marks, stickers, underlining, or other defects are described in the notes.

Used Grade

We use the all-encompassing grade "Used" for miscellaneous non-new items. Specific condition details are described in the notes.

Condition Notes

If something is relevant, we try to describe it in the notes — especially if it is release or packaging details, or an oddity that is the only wrong thing about the CD. This might include, but isn't limited to, scratches, tracks that skip, case/insert damage or wear, or strictly cosmetic flaws.


You might be interested


Storyville/DA (Germany), 1953. New Copy
CD...$0.99 14.99
New Orleans jazz legend Sidney Bechet plays live at Storyville – not the earlier Nola club that helped birth jazz at the start of the century, but the hip Boston night spot that was around in the 50s! The live performance captures Bechet at all his mature greatness – all that depth in ... CD
Fremeaux & Associates (France), Late 1950s/Early 1960s. New Copy 3CD
The great Sacha Distel is maybe best known for his good looks and vocal performances on the French scene of the 60s and 70s – but at the start of his career, he was also a hell of a jazz guitarist – trained by the mighty Henri Salvador, and a wizard on the strings who had a legacy of ... CD

Dizzy Gillespie with Lalo Schifrin

Live In Paris 1960/1961
Fremeaux & Associates (France), Early 60s. New Copy 2CD
Fantastic work from one of our favorite Dizzy Gillespie groups ever – an early 60s lineup that not only features a young Lalo Schifrin on piano, but also the great Leo Wright on alto sax and flute! Dizzy's maybe best known for his bebop material – and he recorded famously in that mode ... CD
Fremeaux & Associates (France), 1962. New Copy
Wonderful live work from the John Coltrane Quartet – tracks recorded in Paris during a famous 1962 European tour – and material that we're not sure we've seen anywhere else! The group here is, of course, that masterful lineup of Coltrane on tenor and soprano saxophone, McCoy Tyner on ... CD

Burton Greene Ensemble

Aquariana
BYG/Solid (Japan), 1969. New Copy
One of the boldest, best-remembered albums from pianist Burton Greene – a session that has him joining in on all the groundbreaking free energy of the Parisian scene in 1969, while also still holding on to some of those fluid, organic qualities he has in his own music too! The group here is ... CD

Sunny Murray

Hommage To Africa
BYG/Solid (Japan), 1969. New Copy
One of the more spiritual sessions for BYG, and a large ensemble session that brings together players like Archie Shepp, Malachi Favors, Roscoe Mitchell, Grachan Moncur, and Clifford Thornton. "Suns Of Africa" takes up all of side one, and although it begins slow, and with spare soloing, ... CD

Claude Delcloo/Arthur Jones

Africanasia
BYG/Solid (Japan), 1969. New Copy
One of the more homegrown sets on the legendary BYG label – a record that's co-led by two musicians who never got much recognition outside the scene, but who are both pretty darn great! The album's billed to drummer Claude Delcloo, who's got a wonderful touch on the kit – but it's also ... CD

Ronnie Mathews

Selena's Dance
Timeless/Solid (Japan), 1988. New Copy
Ronnie Mathews is a pianist we always love, no matter what the context – but here he's in this extra-great trio with bassist Stafford James, who almost seems to take center stage at times! James' deep, round tone is a perfect match for Mathews' approach to piano – and while Ronnie ... CD

Alan Silva & Celestial Communications Orchestra

Luna Surface
BYG/Solid (France), 1969. New Copy
Alan Silva never gave the world many records as a leader, but he was certainly on fire at the time of this date – leading a very hip array of the top-shelf improvisers who'd recorded on other sessions for the BYG/Actuel label – stepping out here in one long performance as Silva's ... CD
Solid (Japan), 1986. New Copy
A Japanese concert from Chet Baker, but one that features some of the wonderful European musicians who were helping him make some of the best recordings of his later years! During this period, Chet was often at his best when he could relax and lay back in a very mellow, open, spacious groove ... CD

Dollar Brand/Don Cherry/Carlos Ward

Third World – Underground
Trio/Ultra Vybe (Japan), 1972. New Copy
A stunning little session – and every bit as wonderful as you'd expect from a lineup that includes Dollar Brand, Don Cherry, and Carlos Ward! The three players work together here in open, spiritual styles – with really long-flowing lines from Brand on piano, in a more modal style that's ... CD

George Adams/Don Pullen Quartet

Life Line
Timeless/Solid (Japan), 1981. New Copy
A strong outing from this key post-Mingus collaboration – and a record that really shows both Don Pullen and George Adams really coming into their own! Pullen's piano can have plenty of edges, as can Adams' tenor – but there's also some warmer, lyrical moments that really round things ... CD
 



⇑ Top