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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.
Additional Marks & Notes
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.
James Moody's definitely feelin it here – stepping back into a straighter hardbop mode after some funkier sets of the early 70s – really sounding great on tenor, alto, and flute – and working with a very hip quartet for the date! Kenny Barron's in the group on both electric and ... LP, Vinyl record album
Way more than just a James Moody album – a true proof of his genius in the 60s! The album was put together under the guidance of Tom McIntosh – a very hip young writer and arranger that Moody had been pushing on other records, and who steps into the limelight here with a wonderful set ... LP, Vinyl record album
A great set from Moody, nice and edgey, with his genius firmly in place! Quincy Jones handled the arrangements, and the group swings in a variety of modes. Moody's on alto and tenor – no flute yet at this point – and highlights include "Workshop", a great number with ... LP, Vinyl record album
Great work from Moody's "second phase" – the post-Overbrook time in which he picks up the flute, drops a bit of the bop style, and starts working in a much more complicated style that showed that he had a hell of a lot of room to grow as an artist! This album's Moody's second for ... LP, Vinyl record album
A magnificent little album – one of James Moody's first collaborations with arranger Tom McIntosh – one of the most sensitive jazz voices of his time. McIntosh works in a world of many tones and colors – and he really pushes Moody past straighter solo approaches, into a mode ... LP, Vinyl record album
One of those shady little sessions that Gene Ammons cut for Argo when he wasn't supposed to be recording for anyone but Prestige – and a great album that never got full circulation because of contract difficulties. The group on the album features organist Eddie Buster, who'd backed Jug or ... LP, Vinyl record album
A nicely expanded take on the Ahmad Jamal sound of the early 60s – one that adds in guitar from Ray Crawford and violin from Joe Kennedy to Jamal's usual trio grooving! The main focus here is often still on the core group – which features Israel Crosby on bass and Vernell Fournier on ... LP, Vinyl record album
Groundbreaking work from the legendary Ahmad Jamal – not just in his own career, but in live jazz in general! The album's a classic recording of Jamal's trio with Israel Crosby on bass and Vernell Fournier on drums – captured at the Pershing Lounge on the south side of Chicago, where ... LP, Vinyl record album
A lost little cooker from Stitt and Green – recorded at a time when they were working together briefly, with backing by a Chicago organ trio that includes Bobby Buster on Hammond, Jo Diorio on guitar, and Dorel Anderson on drums. Tracks are short and fierce, but it's clear that Stitt can ... LP, Vinyl record album
Basie-esque stuff by Al Grey, who made his name playing trombone in Basie's band. The group includes a lot of other Basie-ites, including Billy Mitchell, Joe Newman, and Benny Powell. The great Floyd Morris (one of Chicago's best talents of the time!) plays piano, and titles include "Bluish ... LP, Vinyl record album
Nothing fancy – but some great straight-ahead blowing from Stitt and Jug! The album's a quintet session, with John Houston piano, Buster Williams bass, and George Brown drums providing all the rhythm. But the real focus is on the twin-sax frontline – with Sitt taking up the alto on a ... LP, Vinyl record album
A rare session as a leader from drummer Red Holt – cut at a time when he was making waves with the Ramsey Lewis Trio, and years before his work in Young Holt Unlimited! The record's got a really playful feel that points the way towards directions Holt would take later – a mix of soul ... LP, Vinyl record album