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

African Space Program

CD (Item 946124) Enja/Ultra Vybe (Japan), 1973 — Condition: New Copy
$16.99 ...

CD

One of the most righteous 70s sessions to come from the hands of Dollar Brand – a New York recording that's filled with work by a host of players from the spiritual jazz underground – all of whom soar strongly on the album's long tracks, and give the set a fire and righteous energy you're not likely to hear on other Brand albums of the time! The leader is especially bold and free on piano – and provides these long lines that set fire to work from Cecil Bridgewater and Charles Sullivan on trumpets, Kiani Zawadi on trombone, Cecil McBee on bass, Roy Brooks on drums, and the massive talents Sonny Fortune, Carlos Ward, Hamiet Bluiette, Roland Alexander, and John Stubblefield on reeds! The record has a much fuller feel than most of Brand's other work from the time, and it's great to hear his angular, rhythmic piano juxtaposed with the warm spiritualism of the players in the group – wonderful energy that takes flight on the two-part "Titiana", and the longer "Jabulani Easter Joy".  © 1996-2021, Dusty Groove, Inc.
(Part of the "Enja – Real Jazz Classics" 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


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
Trio/Solid (Japan), 1980. New Copy
A beautiful little record, with some of the slight exotic touches you might expect from the title – as the group features Kazumi Watanabe on acoustic and electric guitar, and Yuji Imamura on percussion – both musicians who help open up the sound of the trio core into much warmer ... CD
Impulse (Japan), 1969. New Copy
One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he ... CD

Archie Shepp

Way Ahead
Impulse (Japan), 1968. New Copy
Definitely the way ahead in jazz – back in the 60s, and well into the 21st Century too! Archie Shepp's in prime form here – working with a sextet that's awash in avant freedoms, but which always shows a great sense of restraint – just the right power gained from the new modes of ... CD
Impulse (Japan), 1971. New Copy
Wonderful post-Paris work from Archie Shepp – a record that has him bringing more focus back into his work after sessions overseas – and also making some great use of the legendary Joe Lee Wilson on vocals! There's a feeling here that's a real change for Shepp, but a great one too ... CD

Yosuke Yamashita & Adelhard Rodinger

Inner Space (Japanese paper sleeve edition)
Enja/Ultra Vybe (Japan), 1976. New Copy
Japanese pianist Yosuke Yamashita cut some fantastic work in Tokyo with his trio during the 70s – but he shines equally brightly here on a German session from the decade, but in a completely different way – given that the whole record just features duets with bassist Adelhard Rodinger! ... CD

Pharoah Sanders

Africa
Timeless/Solid (Japan), 1987. New Copy
A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet ... CD
Nadja/Ultra Vybe (Japan), 1974. New Copy
Warm-hearted piano work from Takeshi Shibuya – a set that brings together some older jazz currents with newer modes of expression – a bit in the manner of some of the Three Blind Mice label sessions of the time! As with those records, this one is recorded superbly – so that the ... CD

Masahiko Sato, Peter Warren, & Pierre Favre

Trinity (Japanese paper sleeve edition)
Enja/Solid (Japan), 1971. New Copy
Japanese pianist Masahiko Sato is in a great trinity here – working with European players Peter Warren on bass and Pierre Favre on drums – on two side-long tracks that bristle with imagination! The music was recorded live at Studio 70 in Munich, and has the flow of some of the best ... CD
Why Not/Ultra Vybe (Japan), 1977. New Copy
Maybe the only album we've ever seen from Japanese trombonist Teruhiko Kataoka – a really sharp-edged player, working here with an excellent sound! The tracks are long, and have strong soulful currents – similar to other 70s work on the Why Not label by the American players who made up ... CD
Why Not/Ultra Vybe (Japan), 1977. New Copy
We love the 70s work of Japanese pianist Fumio Karashima – and this album is one of our favorites from the decade! Fumio's got this way of being both bold and lyrical at the same time – long flows on the keyboard that are partly in the school of McCoy Tyner, but used to transform the ... CD
Trio/Ultra Vybe (Japan), 1975. New Copy
We've never heard from Japanese saxophonist Koichi Matsukaze before, but he's really won us over with this inventive little session – an understated mix of modern moments and lyrical touches, done with some especially nice vibes from Hiroshi Hatsuyama! The group's just a quartet with bass ... CD
 



⇑ Top