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CD, LP, Vinyl record album cover art

Very Best Of Cannonball Adderley

CD (Item 926128) Riverside, 1957–1979 
Out Of Stock

CD

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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


Savoy/Sony (Japan), 1955. Used
One of Cannonball Adderley's first albums – recorded for Savoy way back in 1955, and done with a free and open style that's a nice contrast to his tighter sides for Mercury! The album's very relaxed – that hardbop blowing session mode that Savoy virtually pioneered – letting the ... CD
Europe 1, 1969. Used
A hip little live set from Cannonball – recorded at the end of the funky 60s, in Paris, with Joe Zawinul on keyboards, and in the same long electric tradition as his famous Country Preacher album! The tracks include some of the gems from the Capitol years – stretched out and served up ... CD
Riverside (Japan), 1958. Used
A jazzy portrait of Cannonball Adderley in his early soul jazz prime – oddly one that doesn't feature his regular quintet lineup, but which more than makes up for that lack with a batch of players that includes Blue Mitchell on trumpet, Bill Evans on piano, Sam Jones on bass, and Philly Joe ... CD

Cannonball Adderley

Presenting Cannonball
Savoy, 1955. Used
One of Cannonball Adderley's first albums – recorded for Savoy way back in 1955, and done with a free and open style that's a nice contrast to his tighter sides for Mercury! The album's very relaxed – that hardbop blowing session mode that Savoy virtually pioneered – letting the ... CD
Riverside/Capitol, 1960. Used
Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as ... CD
Riverside (Japan), 1957. Used
An unlikely pair, but a great one here – and the record's one of those few magical moments where bringing together unusual partners actually works! Mulligan's cool hardly seems a match for Monk's angular modernism, but together the players seem to strike a middle ground that resonates with ... CD

Wes Montgomery

Fusion
Riverside, Early 60s. Used
A pretty darn important album for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not ... CD

Cannonball Adderley with Bossa Rio Sextet

Cannonball's Bossa Nova
Capitol/Riverside, 1962. Used
Cannonball Adderley recorded this nice little groover in 1962, when American musicans were just getting on the bossa tip, and still keeping things pretty authentic. The record was cut in New York with Sergio Mendes' early Bossa Rio group – the legendary Brazilian jazz ensemble that featured ... CD
Riverside/OJC, 1960. Used
Budd Johnson was one of those players from the old days who was continually drawing praise from younger and hipper musicians – crediting Budd with a tone and talent that was forever an inspiration to them. Case in point is this 1960 session, issued as part of the hip Cannonball Adderley ... CD
Riverside/OJC, 1957. Used
Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier ... CD
Riverside, 1959. Used
Wes Montgomery's first album as a leader – a relatively obscure set that has him playing in a trio with Indianapolis bandmates Mel Rhyne on organ and Paul Parker on drums – a mode that strongly recalls Montgomery's roots in the Indy scene at the time! If you only know the later, famous ... CD
Riverside, 1962. Used
With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely ... CD
 



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