This image is a general representation of the item and the actual product may differ slightly in terms of color shading, logo placement, borders, or other small details. Used items may have various cosmetic differences as well.
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.
Used CD Grade
We only use the grade "Used CD" for non-new CDs.
This all-encompassing grade was chosen it 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 will 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.
A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really ... CD
Long, lean, and later work by Coleman Hawkins – recorded in a beautifully stripped-down and free setting at the Village Gate! The tracks are all pushing the 10 minute mark – and feature Hawk soloing in that open, exploratory way he was using during the time – a mix of older ... CD
A near-forgotten gem from Coleman Hawkins excellent late 50s period – recorded for the short-lived Felsted label, and done in a beautifully relaxed way! The tracks here are long and easy-going – at times even more open than Hawkins' work for Verve, and in the style he'd explore even ... CD
Well, Hawk isn't really in Paris on this one – as the album was recorded in New York, with backings by Manny Albam – but the spirit of Paris is very much alive on the tunes, which are a mixture of postwar French favorites, and others that have a similar sound. Albam's backings are ... CD
A wonderful late album from Coleman Hawkins – recorded in 1956 with the orchestra of Billy Byers, including soloists Zoot Sims, Al Cohn, and Hank Jones. Coleman's the main blower, though – and the arrangements have a solid base that lets him open up in that exploratory tone he was ... CD
The Hawk Relaxes, but never lets himself go – and a set like this is a great illustration of the gentle genius that made so many later Coleman Hawkins records so great! The relaxed setting for this record is a perfect setting for Hawkins to open up and stretch out – working his tenor ... CD
The Hawk, in prime late form, lays down some beautiful tenor solos over gentle bossa nova accompaniment – working in a mode that's much more satisfying than just a "classic player meets bossa" session, angularly crafting the solos with that dark edge that he had in all of his later ... CD
Includes 66 tracks on 3 CDs. Notable sidemen include Wallace Jones and Cootie Williams on trumpet, Rex Stewart on cornet, Tricky Sam Nanton and Lawrence Brown on trombone, Johnny Hodges on alto and soprano sax, Ben Webster on tenor sax, Fred Guy on guitar, Jimmy Blanton on bass, and Sonny Greer on ... CD
Gil plays Jimi? Sounds like a gimmick, but it comes off pretty darn great – and it helps you forgive him for trying to convince the kids that he's not as old as his grey hair might make you think! As always with Evans, the key to the album is a beautiful balance between the strength of the ... CD