CD, LP, Vinyl record album cover art
View larger image       Image note

Latino – Aqui Se Puede

CD (Item 605055) Montuno, 1984 — Condition: New Copy
Out Of Stock


4.80 2

An overlooked gem from Airto – recorded after his 70s years on bigger labels, but a set that almost tops all of them in the end! There's a wonderful mix going on here – a blend of rootsy and electric, and Latin and Brazilian – the former clearly from the placement of the record on New York's Montuno label – an imprint that did plenty of great sessions filled with Latin jazz! The shift makes for a fresh one for Airto – still plenty of room to show off his famous percussion impulses, yet in a slightly different way – often grooving in a Latin fusion mode that's a nice maturation from the CTI years. The set's filled with all-star players – including Jorge Dalto on electric piano, Raul De Souza on trombone, Joe Farrell on flute, Alphonso Johnson on bass, and Oscar Castro Neves on keyboards, guitar, and cavaquinho – and the lovely Flora's also on board to sing a bit on the set. Titles include the extended jammer "Tombo", plus "Aqui Se Pede", "Jump", "The Return", "Sin Salida", and "Anatelio".  © 1996-2015, Dusty Groove, Inc.

We realize that there are many different interpretations of the standard grades used for pre-owned vinyl record albums & CD, so we thought we'd offer you the ones that we are working with, so you have an idea what we mean when we give the grade for a non-new item on our pages.

Used Vinyl Grades

Below are stated conditions for a used vinyl records at Dusty Groove. Grading for the cover should be assumed to be near (within a "+" or "-") the grading for the vinyl. If there is significant divergence from the condition of the vinyl, or specific flaws, these will be noted in the comments section of the item. However, please be aware that since the emphasis of this site is towards the music listener, our main concern is with the vinyl of any used item we sell. Additionally, please note that all of our records are graded visually; considering the volume of used vinyl we handle, it is impossible for us to listen to each record. If we spot any significant flaws, we make every attempt to listen through them and note how they play.

The following grading conditions apply to the vinyl component of an album or single:


This is what it says, that the record is still held fast in shrink-wrap. We tend to be pretty suspicious about these things, so if the shrink-wrap doesn't look original, or if the record seems to have undergone some damage over time, we'll probably take it out of the wrapper to ensure that it's in good shape — which is why we don't have more of these. In some cases the shrink-wrap may be torn in spots, but if it's not possible the record has been taken out and played, the record will still qualify as "Sealed".

Near Mint

As a rule, Dusty Groove does not use the grades of Near Mint (or Mint, for that matter) because in our experience, we find that no records ever qualify for such a high grade. Even sealed records tend to have one or two slight faults, enough to usually qualify them for a grade of NM- or lower. We've often found that records which are clearly unplayed will have a slight amount of surface noise, especially in quieter recordings.

Near Mint - (minus)

  • Black vinyl that may show a slight amount of dust or dirt.
  • Should still be very shiny under a light, even with slight amount of dust on surface.
  • One or two small marks that would make an otherwise near perfect record slightly less so. These marks cannot be too deep, and should only be surface marks that won't affect play, but might detract from the looks.
  • May have some flaws and discoloration in the vinyl, but only those that would be intrinsic to the pressing. These should disappear when the record is tilted under the light, and will only show up when looking straight at the record. (Buddah and ABC pressings from the 70's are a good example of this.)
  • May have some slight marks from aging of the paper sleeve on the vinyl.
  • Possible minor surface noise when played.

Very Good + (plus)

  • 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.

Very Good

  • Vinyl can have some dirt, but nothing major.
  • 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.

Very Good - (minus)

  • Vinyl may be dirty, and can lack a fair amount of luster.
  • Vinyl can have a number of marks, either in clusters or smaller amounts, but deeper.
  • This is the kind of record that you'd buy to play, but not because it looked that great. Still, the flaws should be mostly cosmetic, with nothing too deep that would ruin the overall record.
  • Examples include a record that has been kept for a while in a cover without the paper sleeve, or heavily played by a previous owner and has some marks across the surface. The record should play okay, though probably with surface noise.

Good + (plus)

  • Vinyl may be dirty, or have one outstanding flaw, such as a light residue, which could be difficult to clean.
  • May have marks on all parts, too many to qualify as Very Good-, or several deeper marks, but the record should still be ok for play without skips.
  • In general, this is a record that was played a fair amount, and handled without care. A typical example may be a record which has been heavily played by a DJ, and carries marks from slip cueing. Depending on the quality of the vinyl, may play with surface noise throughout.


  • A record that you'd buy to play, cheap, but which you wouldn't buy for collecting.
  • Will have marks across all parts of the playing surface, and will most likely play with surface noise throughout. May have some other significant flaws, such as residue, or a track that skips.
  • In most cases, a poor quality copy of a very difficult to find record.


This is a grade we rarely use, as we try not to sell records in very bad condition, though in some rare cases we will list a record in such bad shape that it does not conform to the standards above. A "Fair" record will have enough marks or significant flaws that it does not even qualify as "Good", but is a copy you might consider for playing, if you're willing to put up with noise and/or flaws. An example might be a recording with surface noise so heavy that it is equal to the volume of the music. For records listed as "Fair", we will describe the extent of the condition in the comments.


Like "Fair", we rarely list records in this condition, as they represent the extreme low end of spectrum. These records typically have multiple serious problems, and we offer them as "relics" or "objects" only — for those who want to at least have a copy of a record, even if it is not really worthy of play, perhaps for the cover alone. For these records, we will describe the extent of the condition in the comments.

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.

Used CD Grade

We have only one grade for non-new CDs at Dusty Groove — "Used CD". This grade is somewhat all-encompassing, but we choose it because we try to offer Used CDs in the best shape possible. All of our Used CDs are guaranteed to play without skipping or flaws. If you purchase a Used CD from Dusty Groove, you have 1 week to play it to determine that it plays correctly — and if it does not, then you may return it for a full refund.

With our Used CDs, you can expect the disc to be free of all but the lightest of surface marks — clean, and not dirty at all. You can also expect the case to be clean (we often change the cases ourselves — putting fresh cases on Used CDs we handle) — and you can expect the booklet to be in good shape, unless noted otherwise. We will list any specific details/defects underneath the item — so look for notes on cutout marks in the case, stamps on the barcode, or details like that.

You might be interested in

CD, LP, Vinyl record album cover art
A&M/CTI (Japan), 1969. New Copy
Walter Wanderley opens up wonderfully on both organ and electric harpsichord here – going for a very different sound than on his earlier records, and with plenty of great late 60s CTI touches! The music is as heavenly as you might guess from the title – a dreamy recasting of Brazilian ... CD
CD, LP, Vinyl record album cover art
Caetano Veloso (1971)
Philips (Japan), 1971. New Copy
One of the greatest albums ever from Caetano Veloso – a rare all-English language set, recorded in London during the years of his exile! The post-Tropicalia set is a fair bit different than any other Veloso album we can think of – not just because of the English language, but also ... CD
CD, LP, Vinyl record album cover art
Bicho (with bonus tracks)
Philips (Japan), 1977. New Copy
Sweetly jazzy, funky, and soulful work from Caetano Veloso – a great departure from some of his headier work of the early 70s – and proof that he still sounds great, even when in sweetly melodic territory! The album's got some full backings from Perinho Albuquerque, but the sound is ... CD
CD, LP, Vinyl record album cover art
Philips (Japan), 1969. New Copy
Damn – what a great album! This is Joyce's second solo album – and it's a landmark in Brazilian music, stretching way past the bossa styles of her first release, into a groove that's free, jazzy, and open-ended, a real shift towards the genius of her work in the 70s and 80s. ... CD
CD, LP, Vinyl record album cover art
Philips (Japan), 1965. New Copy
One of the most legendary groups from the bossa era in Brazil – a combo of incredible players, working with sublime arrangements by Eumir Deodato – all in a sound that hardly been matched again! The group only ever recorded two albums, but they've had a lasting impact on the sound of ... CD
CD, LP, Vinyl record album cover art
Forma/Universal (Japan), 1966. New Copy
One of the rare treasures from the legendary Forma label – a set of vocals and compositions by singer Chico Feitosa, set to sophisticated arrangements by Oscar Castro Neves, and produced to perfection by the amazing Roberto Quartin! There's a style here that's even a cut above similar work ... CD
CD, LP, Vinyl record album cover art
Apresentando Rosinha De Valenca
Elenco/Universal (Japan), 1964. New Copy
The first album by Brazilian guitarist Rosinha Da Valencia – and a beautiful one at that! The record features Rosinha playing solo guitar with percussion backing, very much in the style of Baden Powell's early work, especially his own albums for the Elenco label – and as the set ... CD
CD, LP, Vinyl record album cover art
Prestige, 1973. New Copy
Charles Earland – really stretching things out, and sounding great in the process! The album's an important one, as it shows that Earland wasn't just a funky Hammond player leading a small group – but a visionary player who could put together a session with a larger, cosmic concept. ... CD
CD, LP, Vinyl record album cover art
Art Of Conversation
Blue Note, 2014. New Copy
A great title for this sublime set of duo material – work that features Kenny Barron on piano and Dave Holland on bass – with no other instrumentation at all! Barron's a player who's always expansive, no matter what the setting – but hearing him in spare formation like this, we ... CD

⇑ Top