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

Ed Bickert

CD (Item 915215) PM/Solid (Japan), 1975 — Condition: New Copy
Out Of Stock

CD

✈

A sweet little set from Candian guitarist Ed Bickert – a record that's filled with amazing tones and colors, and which sparkles brightly from the very first note! The date's a trio outing – with Don Thompson on bass and Terry Clarke on drums – but Bickert's playing gives the whole thing a quality that's very different than any sort of traditional jazz guitar set like this – thanks to a style that shows a knowledge of 70s innovators like Pat Martino and John Abercrombie, but a sense of soul that keeps the whole thing nice and solid – in a very classic way. The set's got an airy feel, but is deeply grounded too – and at times, Bickert almost seems to echo the unique phrasing of his Canadian contemporary Sonny Greenwich. Titles include "Where Are You", "When Sunny Gets Blue", "It Might As Well Be Spring", and "Manha De Carnaval".  © 1996-2020, Dusty Groove, Inc.
(Part of the Modern Jazz Connection series!)

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


Yosuke Yamashita & Hozan Yamamoto

Bolero
Enja/Ultra Vybe (Japan), 1985. New Copy 2CD
Two of the most creative talents in Japanese jazz – coming together here wonderfully on a double-length set of duets from the 80s! Pianist Yosuke Yamashita is maybe the better-known of the two – a fierce, free improviser who was maybe Japan's answer to Cecil Taylor in the 70s – ... CD

Dollar Brand

African Sketchbook
Enja/Ultra Vybe (Japan), 1969. New Copy
Spare, solo, and incredibly haunting work from Dollar Brand – recorded in Germany in 1969, and featuring Brand on both flute and piano, playing a set of 14 original compositions designed to provide small sketches of his African homeland. The mood of the work is less sprightly than some of ... CD
Enja/Ultra Vybe (Japan), 1965/1975. New Copy
A compelling split album – both a performance by and a tribute to the legendary tenorist Booker Ervin – issued after his death, but also featuring a rare European performance from the 60s as well! The album features one long track by Booker – "Blues For You" – ... CD

Ivan Boogaloo Joe Jones

Sweetback
P-Vine (Japan), 1975. New Copy
A monster set of work by one of the funkiest guitar players ever! Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s – but this rare gem came out after all those, in 1975, on the tiny Joka label, and never really got into proper circulation at the ... 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

Kenny Dorham

Showboat
Time/Solid (Japan), 1960. New Copy
Not the Broadway record that you might guess from the title, but a great showboat for the hipper talents of trumpeter Kenny Dorham! The album is made up of tunes from the famous show, but the presentation here is quite strongly hardbop – blown by Kenny with the same mix of sweet and modern ... CD

Arnett Cobb

Funky Butt
Progressive/Solid (Japan), 1980. New Copy
Strong later work by tenor sax legend Arnett Cobb – in a quartet session cut in New York in January of 1980 – sounding fresh and revitalized one of his final studio dates! Funky Butt actually isn't a left turn into a funk sound Cobb, but it is a pretty darn great showcase for his rich ... CD

Pharoah Sanders

Welcome To Love
Timeless/Solid (Japan), 1991. New Copy
Laidback, soulful work from Pharoah Sanders – a record that showcases a very different side of his talents than you might know from his classic albums on Impulse Records – but a side that's an equally great revelation overall! The album features mostly older jazz standards, blown by ... CD

Motohiko Hino

Toko Flash
Trio/Solid (Japan), 1977. New Copy
Really unique work from a trio led by drummer Motohiko Hino, and which features Masahiko Satoh on piano and Nobuyoshi Ino on bass – all players who aren't content to just rest in the usual piano trio modes of the time, and who instead really break open the format with their creative work on ... CD
Challenge/Solid (Japan), 1994. New Copy
Masterful later work from saxophonist Gary Bartz – proof that he kept on growing and maturing his style after his initial explosive years in the 70s! This album is a bit more subtle than those righteous classics, but still carries a lot of message in the music – a suite of tracks ... CD
Trio/Solid (Japan), 1981. New Copy
Masaru Imada gets a bit tropical here, but also picks up some great help on horns – thanks to guest work from the Brecker Brothers, whose performance on a few tracks really help give the set a strong soul fusion vibe! The core sounds come from Imada's quintet – which has the leader ... CD

Toshinori Kondo

Taihen (with bonus tracks)
Polydor/Solid (Japan), 1984. New Copy
One of those really unique records that trumpeter Toshinori Kondo gave us in the 80s – not really fusion, but not avant either all – yet a very unusual criss-crossing of electric and acoustic impulses, with a vibe that's all its own! Kondo's clearly drawing a bit of inspiration from ... CD
 



⇑ Top