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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.
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.
Charles McPherson is one of those players who had a unique vibe right from the start – and is one who's continued that way, even well into his many decades in music! This live set has McPherson demonstrating his amazing sense of tone and phrasing – an approach to the alto sax that's ... CD
A beautifully soulful set from Charles McPherson – and an overlooked gem from his early years at Prestige! The album's got Charles working with Cedar Walton on piano and Pat Martino on guitar – both of whom bring a fluid sense of soulfulness to the album, one that takes McPherson way ... CD
A wonderfully warm, deeply creative session from Charles McPherson – a set that moves way past his boppish roots, into a new zone of lyricism and imagination! Cedar Walton's on piano, and he adds some extremely important touches to the record – those lyrical, almost modal lines that ... CD
Bebop is alive and well in this classic 60s set by McPherson – blowing hard here in a Bird-esque mode on alto, but also with some of the soulfulness of Jackie McLean during the 50s. The group features Carmell Jones on trumpet, Barry Harris on piano, Nelson Boyd on bass, and Al Heath on drums ... CD
A really beautiful batch of tracks from Charles McPherson – with a late 60s approach to soul jazz that reminds us of some of the work by Sonny Criss on Prestige, or of some of Cedar Walton's sessions from the same time. McPherson's moved way past his earlier bop roots here – stretching ... CD
God bless Gene Ammons and Sonny Stitt – two tremendous tenor talents who were taken from us all too soon – recorded here in the very freewheeling territory of Baltimore's famous Left Bank Jazz Society! As with most of the Left Bank sessions, the format is very free and open – ... CD
One of the last times that Ammons and Stitt were reunited in a live setting – part of the famous series of recordings done by Baltimore's Left Bank Jazz Society, recorded with a core trio of Cedar Walton, Sam Jones, and Billy Higgins. Etta Jones sings on two of the album's seven tracks ... CD
A sublime early set from John Coltrane – and one of Tadd Dameron's greatest moments on record ever! The session's a laidback quartet one – with John Simmons on bass and Philly Joe Jones on drums, completing the group with Dameron on piano and Trane on tenor – all coming together ... CD
A groundbreaking album from Sonny Rollins, largely for the extended track "Tenor Madness", which runs on for 13 minutes, and features him and Coltrane blowing head to head – redefining the sound of the tenor sax in jazz through the course of that amazing track! Backing is by the ... CD
Early genius from Jackie McLean – arguably his best pre-Blue Note album, and a sinister batch of hardbop tracks recorded with a great group that includes Donald Byrd on trumpet and Elmo Hope on piano! The tracks are long, with a bit of the "blowing session" feel of other Prestige ... CD
Wail Moody, indeed – a killer set from the 50s that really shows the strong development of James Moody after the initial bebop years – already growing into one of the most forward-thinking jazzman of his generation! The group here is a bit larger than before – a septet, put ... CD
Art Farmer's always a delight – but he sounds especially great on this batch of early tracks, ones that have him grooving a bit harder than in later years, with a firey tone that really steps out at times. There's still plenty of Art's sweetness in the tunes, but the material is a bit more ... CD