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

Blue Soul (plus Swinging Easy) (Japanese paper sleeve edition)

CD (Item 945540) Black Lion/Muzak (Japan), 1968 — Condition: New Copy
2CDs
$24.99 ...

CD

A pair of late 60s gems from guitarist Barney Kessel – both of which came from the same string of sessions! First up is Blue Soul – a very groovy set from guitarist Barney Kessel – very different than some of his cleaner, smoother-toned work of the 50s! The album was partly recorded in London, and partly recorded in LA – and there's a really nice mix of modes going on, which includes strong use of organ at times – bringing a soul jazz vibe to the record, which Barney seems to match with an extra sort of rasp in his strings – this nice bite that really sets the record apart from some of his others! There's also great use of electric bass, very strong at a few points, with a nice kick in the rhythms that's kind of unexpected for a record from Kessel – as you'll groove to on titles that include "Blue Soul", "Stumblin Around", "Comin Home", "Quail Bait", "Shufflin", and "Frank Mills". Swinging Easy is really nice work from guitarist Barney Kessel – one of his overlooked late 60s sessions from a time when the musician was really opening up his sound! Barney's working with a British trio here – John Marshall on drums and Kenny Napper on bass – and there's a nice sense of tone that carries forward his 50s modes, but which also maybe has a bit more of a bite, too. The mix is a great one, and titles include "On A Clear Day", "The Look Of Love", "Corcovado", "Aquarius", "Watch The Birds Go By", and "I Will Wait For You".  © 1996-2020, Dusty Groove, Inc.
(Great paper sleeve package, too!)

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


Storyville/Muzak (Japan), 1956. New Copy 2CDs
Two great Storyville sessions – back to back in a single set! First up is Tonite's Music Today – an early Storyville Records gem from these two budding modernists – featuring a quartet with Zoot Sims on tenor, Bob Brookmeyer on valve trombone, and Hank Jones on piano and a bit of ... CD
Storyville/Muzak (Japan), 1954. New Copy 2CDs
Three early 10" albums from alto genius Lee Konitz – packaged together here in one great 2CD set! First up is Lee Konitz At Storyville – tight early work from Lee Konitz – recorded on location at the very hospitable Storyville nightclub in Boston – a sweet setting for ... CD
Black Lion/Muzak (Japan), 1969. New Copy 2CD Gatefold
A pair of albums that have European jazz great Stephane Grapelli revising the format of his legendary Hot Club Of France with guitarist Django Reinhardt – but in a very different mode, given that this group features electric guitar from Barney Kessel! Kessel is great, and his warm, round ... CD
Freedom/Muzak (Japan), 1968. New Copy
Two jazz giants of the 70s come together on this rare Italian recording from the late 60s – South African pianist Dollar Brand (Abdulla Ibrahim) and Argentine tenorist Gato Barbieri – both working here in spare duo formation, with edges that are a fair bit sharper than most of their ... CD
Freedom/Muzak (Japan), 1973. New Copy
Chicago had the Art Ensemble of Chicago at the end of the 60s – and St Louis had the fantastic Human Arts Ensemble at the start of the 70s – a wonderfully creative jazz group who shared a lot of the same ideas of improvisation and artistic freedom as the AACM up in the Windy City! This ... CD

Alexander Von Schlippenbach

Slow Pieces For Aki
Intakt (Switzerland), 2020. New Copy
Spacious sounds from pianist Alexander Von Schlippenbach – a set dedicated to Aki Takase, a fellow pianist who's had an influence on his work in more ways than one – and who here is clearly the inspiration for slower movement and more contemplative sounds on the keys! We've always ... CD

Horace Tapscott w/ Pan Afrikan People's Arkestra

Live At IUCC (2CD set)
Nimbus, 1979. New Copy 2CDs
An excellent double-length set from Horace Tapscott's Pan-Afrikan Peoples Arkestra – an extremely righteous ensemble that was one of the hippest things going on the LA jazz scene of the 70s! The vibe is free and spiritual, but it also has a wonderful groove pulsating underneath many of the ... CD

Horace Tapscott & The Pan Afrikan Peoples Arkestra

Call
Nimbus, 1978. New Copy
Large-group genius from the legendary Horace Tapscott – one of the few recordings of his groundbreaking Pan Afrikan Peoples Arkestra! The music here is totally righteous right from the start – even more searching and soaring than Tapscott's trio or solo work – thanks to help from ... CD

Gary Bias

East 101
Nimbus, 1981. New Copy
A dream of a record from the LA spiritual underground of the 70s – and one of the only records we've ever seen from reedman Gary Bias! The date's got a soulful depth that makes it one of the most compelling albums on the legendary Nimbus label – a rhythmic pulse that's often modal, and ... CD

Lionel Loueke

HH
Edition (UK), 2020. New Copy
Some of the most beautiful music we've ever heard from Lionel Loueke – a set that's mostly just solo guitar, with a bit of vocalization thrown in for good measure – and which has a style that's almost more compelling than some of Lionel's work in a larger format! Loueke doesn't really ... CD

Ben Wendel

High Heart
Edition (UK), 2020. New Copy
A really lovely little record from tenor saxophonist/pianist Ben Wendel, and a set that's definitely got a high heart – this warmth that almost belies the cover – and which comes from Ben's own work on tenor, and the very cool wordless vocals of Michael Mayo! Mayo begins the record ... CD

Tim Garland

Refocus
Edition (UK), 2020. New Copy
Saxophonist Tim Garland pays tribute to a very unique moment in the career of Stan Getz – his early 60s collaboration with composer Eddie Sauter, on the orchestral project Focus from 1969! Garland really invokes the modern jazz vibe of the set here – using strings along with the core ... CD
 



⇑ Top