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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.
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.
A rather late recording for Pepper, but a great one played with some fierceness that you might not expect from the date of the recording. It helps that he's accompanied by a remarkable rhythm section of George Cables, George Mraz and Elvin Jones, all seasoned vets by this point, and playing with ... LP, Vinyl record album
One of the few sides ever cut as a leader by west coast clarinetist Bill Smith – and a pretty groovy session that has the group performing jazz versions of folk tunes, a gimmick that was used briefly around the same time by players that included Harold Land and Benny Bailey. The quartet ... LP, Vinyl record album
A key early entry in the "jazz meets Broadway" genre – and a record that was so successful, it went onto inspire countless imitations! Shelly Manne's working here in a lightly playful trio setting – alongside Andre Previn on piano and Leroy Vinnegar on bass, in a reading of ... LP, Vinyl record album
A very cool album that has Shelly Manne and Jack Marshall going nuts on a bunch of percussion, drums, and other odd instruments! Marshall mostly plays spare acoustic guitar, with some very nutty changes – and Manne proves that he's a very adept percussionist way past his usual west coast ... LP, Vinyl record album
One of Stanley Turrentine's few organ-based sessions for Blue Note – recorded in the company of his wife Shirley Scott, a real cooker on the Hammond who holds it down masterfully here – and great band that's filled out by Kenny Burrell on guitar, Bob Cranshaw on bass and Otis Finch on ... LP, Vinyl record album
Forget the Shakespearean reference in the title – which might make you think the whole album's got a Renaissance bent – because the album's a nice bit of funky flute jazz from Hubert Laws, done with the same groovy vibe as some of his earlier albums for the CTI label! The set was ... LP, Vinyl record album
A real classic from Jeff Lorber – the kind of record that crossed-over immediately, and had a huge influence on so many different scenes! The style is smooth sweet fusion – of a sort that Lorber virtually helped invent, and so many others helped to ruin in later years – but here, ... LP, Vinyl record album
Tight funky fusion from a masterful collective – a great supergroup from the late electric years of the CTI label! The combo features Joe Farrell on tenor, Ronnie Foster and Don Grusin on keyboards, John McLaughlin and Larry Coryell on guitars, Stanley Clarke on bass, and Lenny White, Tony ... LP, Vinyl record album
Sweet, smooth, and soulfully beautiful work from John Klemmer – not as all-out cosmic or trippy as some of his earlier albums for ABC, but with some really nice moments! Klemmer's really got the power of his horn in firm control here – playing with that Eddie Harris-schooled use of ... LP, Vinyl record album
This nice soulful sleeper was not that recognized in the 70s, but in the 90s, it's become a huge favorite in the Chicago's steppers scene, thanks to the excellent two-step groover "Love's Gonna Last". It's a great cut, with sweet soulful vocals, and a totally catchy midtempo groove ... LP, Vinyl record album