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 very striking album – one of Ray Bryant's most noteworthy of the time! The album features Ray playing solo piano – quite unusual for the period, as most piano jazz records, especially his, were at least cut in a trio format – with additional bass and drums. Yet the approach ... CD
Solo Ray Bryant – recorded at the Montreux Jazz Festival in 1972, and featuring versions of a number of his classics, plus a few other odd numbers. Ray's no stranger to the solo piano format – having first recorded this way in the early 60s – and his work in the style is ... CD
One of the great Mingus albums for Atlantic – and a record that brings together material from 2 different sessions: one from 1957, with Shafi Hadi on alto; and another from 1961, with Roland Kirk and Booker Ervin on saxes. The '57 session has a raw quintet sound, and features some haunting ... CD
A brilliant slice of rare work by Cedar Walton – tracks from three different live sessions of the early 70s, all of them recorded at the Famous Ballroom in Baltimore, and all of them previously unreleased! The bulk of the work features Walton with the core group of players he was working ... CD
Long live tracks from Stan Getz – captured at one of his strongest points in the 70s, and working with a quartet that includes Richie Beirach on piano, Dave Holland on bass, and Jack DeJohnette on drum s! The feel here is a great extrapolation of the sound of Getz's seminal Sweet Rain ... CD
A killer hardbop session – and a long lost classic! This stunning set is one of the best, and hardest sessions ever cut for the Bethlehem label – and it's got a raw pounding groove that sounds a lot more like some of the classic soul-tinged hardbop coming out on Prestige during the ... CD
Way more than just a Gershwin Songbook sort of record – thanks to some tremendous blowing here by Zoot Sims, who's mellowed nicely with age, and comes up with a wonderful sound for the record! It may just be us, but there seems to be a lot more soul in Zoot's horn than ever before – ... CD
One of the most unique albums from Ramsey Lewis' early years at Chess Records – a spare set of bossa groovers that has the Lewis trio with Eldee Young and Redd Holt augmented by added Brazilian percussion and guitar! The sound is spare, sharp, and soulful – and the record's one of the ... CD
One of the best sessions as a leader ever cut by Lester Bowie – and one of the few to really share the warmth and imagination of his work with the Art Ensemble! The session features Bowie on trumpet, Arthur Blyteh on alto, Amina Myers on piano and voice, Malachi Favors on bass, and Phillip ... CD
A brilliant set of straight jazz material from Roy Ayers – a set recorded for Atlantic at a time when he was working for the label in Herbie Mann's group – but done in a much more righteous groove that really points the way towards Roy's growth in the 70s! The lineup changes a bit ... CD
A beautiful record – but that's no surprise, since most of the later work of Coleman Hawkins tends to be great! The setting is quite laidback – and Hawkins' time-weathered tenor is placed in a perfect setting with Tommy Flanagan on piano, Major Holley on bass, and Eddie Locke on drums. ... CD