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

Spiritual Jazz 9 – Blue Notes – Modal, Esoteric & Deep Jazz From The Vaults Of Blue Note Records 1962 to 1976

CD (Item 904097) Blue Note/Jazzman (UK), Late 60s/Early 70s — Condition: New Copy
2CD
$18.99 ...

CD

A great look at a sometimes-forgotten side of the legendary Blue Note Records label – the company's strong wave of spiritual jazz material recorded during the 60s and early 70s – extremely fine music that's often eclipsed next to the company's better-known hardbop and funky jazz! As the 60s moved on, Blue Note became an even more open-minded label than before – and not only gave some of its key players the chance to stretch out and really spread their wings – but also brought some younger talents into the mix, who really expanded the vision of the Blue Note sound. Some of the tracks here are from the middle of the decade – and reflect more of the growing interest in modal jazz spurred on by Coltrane, Miles Davis, and others – while some of the later tracks are surprisingly righteous, sometimes political moments from players who would have sounded very different just a few years before. The package is done with the same amazing care and fantastic set list as previous Spiritual Jazz collections from Jazzman – and titles include "Verse" by Bobby Hutcherson, "Footprints" by Wayne Shorter, "At This Point In Time" by Elvin Jones, "The Rain" by Eddie Gale, "Poinsettia" by Andrew Hill, "Searchin The Trane" by Bobby Hutcherson, "The Phantom" by Duke Pearson, "Assunta" by Freddie Hubbard, "El Barrio" by Joe Henderson, "Plight" by Jackie McLean, "Gichi" by Booker Ervin, "Igbesi Aiye" by Solomon Ilori, "Blue Spirits" by Freddie Hubbard, "Cristo Redentor" by Duke Pearson, "The Morning After" by Hank Mobley, "Indian Song" by Wayne Shorter, and "Malaguena" by Pete LaRoca.  © 1996-2019, 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, 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. 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


Jazzman (UK), Late 60s/1970s/1980s. New Copy
A really tremendous collection of overlooked jazz from the UK scene – most of it recorded in the late 60s and 70s, at a time when the nation was really exploding with new ideas – so much so, the bigger labels weren't able to keep pace with recording during the period! Instead, it was ... CD
Because (France), Early 70s. New Copy
It's Wu-Tang's world, and we just live in it – as we're reminded again by this great series of older funky cuts sampled by the group! As with other volumes, most of these numbers emerged at some point or another in Wu-Tang and related productions – but this set presents the full ... CD
Because/Import (Germany), Early 70s. New Copy 3CD
A special 3CD collection – one that brings together the first three volumes of Shaolin Soul – a great series inspired by the inventive approach the Wu-Tang Clan brought to the world of hip hop samples – that great sense of sound that had them going for tunes that had way more to ... CD
Cree (Germany), 1970s/Early 80s. New Copy
A long-overdue second volume of the Soul From Jamdown series – issued 15 years after the first one, and maybe even more incredible overall! As before, the focus here is on Jamaican music that draws very direct inspiration from American soul – sometimes as cover versions of famous ... CD
Z Records (UK), Late 70s/Early 80s. New Copy 2CD
Fantastic grooves from the UK scene – most of them created during the better-known punk and post-punk years of the country – which might be why so many of them have remained so obscure over the decades! Yet taken together, these cuts represent a fantastic legacy in soul – upbeat ... CD
Born Bad (France), Mid 80s. New Copy
Great grooves from the French scene of the 80s – a time when Parisian musicians were picking up a lot of the electro soul elements from the New York scene, but also mixing them with other currents of European and African dancefloor modes! This set's a bit later than the first volume in the ... CD
Chuwanaga (France), Early 80s. New Copy
Rare grooves from the British scene at the start of the 80s – catchy soul-based club tunes, served up in the same generation as Level 42 and Shakatak, but a lot more obscure overall! The music here has the UK artists really hitting their stride – no longer just copying American soul ... CD
Cultures Of Soul, Late 70s/Early 80s. New Copy
A pretty fantastic selection of rare disco tracks from the American underground – all of them infused with a spiritual message, but served up with grooves that go head to head with some of the best underground club of the time! The mix of positive energy and upbeat grooves is wonderful ... CD
BBE (UK), Late 60s/1970s. New Copy
Not a set of world music-inflected jazz – although there is a bit of that – and instead, a wonderful collection of spiritual numbers from around the world – most recorded in the 70s, at a time when barriers were really breaking down in jazz music! All tracks here are nice and ... CD
MPS (Germany), Late 60s/Early 70s. New Copy
A fantastic trip through the farther reaches of the MPS/Saba Records label – headed up here by the great Nicola Conte – who's taken plenty of inspiration from these tunes in his own music as well! As you'd guess by the title, there's a spiritual jazz approach going on here – but ... CD
P-Vine (Japan), 1970s/Early 80s. New Copy
Underground soul that goes deeper than most – a collection of some of the hippest tracks from the excellent Groove Diggers reissue series from Japan – a treasure trove of under-discovered indie soul albums from the American scene of the 70s! These tracks are funky, but aren't straight ... CD
Uno Melodic/Expansion (UK), Early 80s. New Copy
A fantastic tribute to one of the greatest soul labels of the 80s – the groundbreaking Uno Melodic imprint, started by soul legend Roy Ayers as a showcase for some of his more creative projects! The vibe here follows perfectly from Roy's classic late 70s work on Polydor – and his ... CD
 



⇑ Top