Scripting is disabled or not working. dustygroove.com requires JavaScript to function correctly.
Style sheets are disabled or not working. dustygroove.com requires style sheets to function correctly.
CD, LP, Vinyl record album cover art
Enlarge       Note

Black & Blues

CD (Item 901818) Groove Merchant/Ultra Vybe (Japan), 1971 — Condition: New Copy
Out Of Stock

CD

✈

An unusual double-length album for Jimmy McGriff – released during his funkier years at the Groove Merchant label, but with a gritty sort of sound that takes us back to his first few records on Sue in the 60s! The "blues" in the title is definitely well-chosen – as the tracks here are long, lean, and drawn out – blues-drenched soul jazz played by a small combo that includes Larry Frazier on guitar, Rudy Johnson on tenor, and Saint Jenkins on drums – plus Gerry Jemmott on electric bass, adding a bit more vamp to the background than usual. There's a very earthy feel to most numbers – almost improvised jams at times, at least on the tracks that are credited to McGriff as the writer. Titles include "Blue Groove (parts 1 & 2)", "Blues For A Broken Down Funky Old Bus", "Bahama", "Mack The Knife", "Harp-er", "Mocha", "Hey Mrs Jones", "Amen", and "Penthouse Serenade".  © 1996-2020, Dusty Groove, Inc.
(Part of the Groove Merchant Mo' Groovy Collection!)

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, 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:

Sealed

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

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.

Good

  • 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.

Fair

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.

Poor

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.

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 list them underneath the item — just like we do with LPs — so look there for notes on cutout marks, stickers, promo stamps or other details.

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.


You might be interested


Jimmy McGriff

Main Squeeze
Groove Merchant/Ultra Vybe (Japan), 1974. New Copy
One of the grooviest albums ever from Jimmy McGriff – a hard-wailing session that's filled with plenty of cooking lines on the organ, and a few especially funky tracks! The groove here is tight, short, and very sharp – strongly in the mode of other post-Sue sessions by McGriff – ... CD
Supraphon/Sony (Japan), 1974. New Copy
One of the hippest jazz groups going in Czechoslovakia during the 70s – the mighty Jazz Q, a cool fusion combo who really knew how to groove! The group's lineup includes a lot of electric keyboards and guitars – and while some tracks have them jamming out in a really rock-inspired way, ... CD

Yosuke Yamashita

Tribute To Mal Waldron
Enja/Ultra Vybe (Japan), 1980. New Copy
A slightly different album than usual from Japanese avant piano legend Yosuke Yamashita – a tribute to Mal Waldron, and one that maybe has a bit more of a straight swing and sense of soul than some of Yamashita's other records from the time! The Waldron vibe is very strong here – and ... CD

Clark Terry & Red Mitchell

Jive At Five
Enja/Ultra Vybe (Japan), 1988. New Copy
One of the hippest records ever cut by Clark Terry – a spare set of duets with bassist Red Mitchell – all in a mode that's really quite unique! We can't think of too many other trumpet/bass duet albums – especially in a straight jazz mode – and Red further adds to the sound ... CD
Da Mon/P-Vine (Japan), 1981. New Copy
One of the best records ever recorded by the Ambiance II Fusion Ensemble – a group led by sax player Daoud Abubakar Balewa – and grooving here in a mix of soul jazz and electric fusion that sounds pretty darn sweet overall! Daoud's got a pinched style to his reed work, creating a tone ... CD

Buster Williams

Dreams Come True
Buddah/Ultra Vybe (Japan), 1978. New Copy
An overlooked set of mellow numbers from bassist Buster Williams – a lost gem that's got a very different feel than some of his earlier work in the 70s, but which is equally soulful! The set's got Buster playing bass over larger arrangements arranged by Kenny Barron and Onaje Allen Gumbs ... CD

George Adams, Martin Hannibal Peterson & Friends

More Sightings
Enja/Ultra Vybe (Japan), 1984. New Copy
An unusual date from tenorist George Adams – recorded right around the same time as his legendary records with Don Pullen, but instead a more unusual partnership with the great trumpeter Hannibal Marvin Peterson! The pairing is great – and both hornmen soar out and really get plenty of ... CD

Al Haig & Jimmy Raney

Strings Attached (with bonus tracks)
Choice/Ultra Vybe (Japan), 1975. New Copy
A brilliant mid 70s set headlined by pianist Al Haig & guitarist Jimmy Raney – essentially a reunion of bandmates from the early 50s Stan Getz Quintet – beautifully done and in a timelessly appealing mode! What's great about this is that doesn't feel in the least a hokey revisit ... CD

Prince Lasha

Search For Tomorrow
Enja/Ultra Vybe (Japan), 1974. New Copy
A rare set from reed genius Prince Lasha – one that dovetails nicely with the albums on the Birdseye label, and which features Lasha in a very similar setting! (In truth, the records may have some overlap – but we're not entirely sure.) The tracks are very long, and the record really ... CD
Enja/Ultra Vybe (Japan), 1968. New Copy
Prime post-Coltrane material from Elvin Jones – featuring his "power trio" style of operation, with one great sax player out front, and Jones kicking it in the back with the bass player! In this case, the sax player is George Coleman – who's really finding a voice of his own ... CD

Kamaal Williams

Wu Hen
Black Focus, 2020. New Copy
Keyboardist Kamaal Williams is light years ahead of his first record here – and that's saying a lot, as that album was already pretty darn far-reaching! The music still has plenty of Fender Rhodes and keyboards, and other jazz elements that include tenor from Quinn Mason – but the ... CD
Discomate/P-Vine (Japan), 1983. New Copy
A walearic classic from the Japanese scene of the early 80s – a set that's definitely got some of the Latin elements promised in the title, but which also resonates strongly with some of the more electronic modes of the time! The tunes are instrumental, and often a bit jazzy – but also ... CD
 



⇑ Top