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  1. THIS MONTH’S WINNING TITLE
    Run Out Groove’s community of die-hard vinyl collectors asked us to press this title. We manufacture a limited pressing only once, so pre-order now before it’s gone!
    The Fire Theft The Fire Theft
    Pre-order now before it's gone forever.
    2018 12 10

Choose Next Release

CHOOSE THE NEXT RELEASE

Vote now for the title you'd most like to see added to your collection.
You will be notified via email if your title wins a coveted pre-order slot. Polls close on 12/9.
  • http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Wallington.jpg
    The Prestidigitator
    George Wallington Quintet
    QUICK VIEW
    http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Wallington.jpg

    The Prestidigitator George Wallington Quintet
    Want us to release this album? Then vote now!
    Place your vote by entering your email address below. If this title receives enough votes, we will press it and let you know when it becomes availble to order.
    Thanks for voting
    The Prestidigitator
    Album Details
    • If voted to win, it would be the first time this album would be reissued on vinyl in the U.S. since 1958!
    • Would be sourced from the original analog masters and half-speed mastered
    • Would be pressed on 180g black vinyl at Record Industry and come in a tip-on jacket.

    George Wallington was an American jazz pianist and composer. He was born Giacinto Figlia in Sicily and then moved to New York with his family in 1925. From 1943 to 1953 Wallington played with Dizzy Gillespie, Charlie Parker, Serge Chaloff, Kai Winding, Terry Gibbs, Gerry Mulligan and Zoot Sims. He recorded as a leader for Savoy and Blue Note in 1950 and toured Europe in 1953 with Lionel Hampton’s Big Band. Between 1954-60 he led bands in New York that contained rising stars such as Donald Byrd, Jackie McLean and Phil Woods. He recorded “The Prestidigitator” for the East-West label that was released in 1958 and included J.R. Monterose on tenor sax and was engineered by Atlantic producer Tom Dowd. In 1960 Wallington stopped playing music and moved to Florida to work in the family business, citing the stress of constant touring. His best known compositions are “Lemon Drop” which gained attention when played by Woody Herman in the 1940s and “Godchild” which was one of the titles played for the Birth Of The Cool recordings led by Miles Davis. If voted to win, ROG would reissue “The Prestidigitator” on vinyl for the first time since 1958!

  • http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Corea2.jpg
    Tones for Joan...
    Chick Corea
    QUICK VIEW
    http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Corea2.jpg

    Tones for Joan... Chick Corea
    Want us to release this album? Then vote now!
    Place your vote by entering your email address below. If this title receives enough votes, we will press it and let you know when it becomes availble to order.
    Thanks for voting
    Tones for Joan...
    Album Details
    • If voted to win, it would be the first time this Chick Corea album would be reissued on vinyl in the U.S. since original release!
    • Would be sourced from the original analog mono masters and half-speed mastered
    • Would be pressed on 180g black vinyl at Record Industry and come in a tip-on jacket.

    Chick Corea is one of the most important American jazz pianists and composers. His compositions “Spain,” “500 Miles High,” “La Fiesta,” and “Windows” are considered jazz standards. As a member of the Miles Davis band in the late 1960s he participated in the birth of fusion and in the 1970s he formed the fusion band Return to Forever. Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano players to emerge in the post-John Coltrane era. He began his career in the early 1960s with Mongo Santamaria, Willie Bobo, Blue Mitchell, Herbie Mann and Stan Getz. He released his debut album, “Tones For Joan’s Bones” in 1968 on the Atlantic subsidiary, Vortex. The album starts to flirt with a new freedom and shows shades of where Chick was headed. Between the years of 1968-1971 he strengthened his associations with avant-garde players and his style revealed a dissonant orientation. Chick has won over 20 Grammy Awards and has been nominated over 60 times. If voted to win, ROG will reissue “Tones for Joan’s Bones” for the first time in the U.S. since original release.

  • http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Revised%20Stitt-7.jpg
    Lone Wolf: The...
    Sonny Stitt
    QUICK VIEW
    http://www.runoutgroovevinyl.com/sites/g/files/g2000007381/f/201811/Revised%20Stitt-7.jpg
    Lone Wolf: The... Sonny Stitt
    Want us to release this album? Then vote now!
    Place your vote by entering your email address below. If this title receives enough votes, we will press it and let you know when it becomes availble to order.
    Thanks for voting
    Lone Wolf: The...
    Album Details
    • If voted to win, ROG will issue a brand new collection of Stitt’s Roost alternate takes making their debut on vinyl.
    • Would include new artwork with Francis Wolff photos and liner notes from Michael Cuscuna
    • Would be cut to lacquers at Sam Phillips Recording Studio, pressed on 180g vinyl at Record Industry in the Netherlands and come in a single pocket tip-on jacket

    Sonny Stitt was born Edward Boatner, Jr. into a musical family in Boston on February 2. 1924 and later moved to Michigan where he took the family name of his step father Robert Stitt. By age 20, he was already a professional musician, playing alto saxophone with the Tiny Bradshaw band.  A high profile stint with Billy Eckstine’s big band; a hotbed of bebop innovators followed in 1945. A string of stellar small group sessions in the late ‘40s with Dizzy Gillespie, Kenny Dorham, Kenny Clarke, Fats Navarro and Bud Powell among others earned him the renown as an outstanding modern saxophone virtuoso. His similarity to Charlie Parker’s style, which he always maintained was parallel development rather than an effort to emulate Bird, unfairly branded him a Parker imitator.  Phil Woods and Charles McPherson would later suffer a similar assessment. But as Gene Quill was heard to say at Birdland one night when a patron accused him just mimicking Bird, “Why don’t you try imitating Charlie Parker!” Teddy Reig, who had produced Stitt’s many appearances on Savoy sessions, had started Roost Records in 1949 and was quick to record Stitt after the dissolution of the Ammons-Stitt band. Reig would continue to produce a series of magnificent Stitt albums until 1965. True to his lone wolf nature, Stitt would record throughout this period as a non-exclusive artist, making albums for Verve, Prestige, Argo and Impulse among others. Roost did not have the budget and distribution that other labels enjoyed, so much of his work here, despite its excellence, did not garner the sales or reputation that it deserved. Stitt’s first Roost session on November 20, 1952 is represented here by alternate takes of all four titles recorded at the date. Sonny is on tenor sax throughout. He’d introduced the horn on a J.J. Johnson three years earlier and began using it with increasing regularity. His sound and style on the tenor are unique and quite distinct from his alto work. The rhythm section is unusual for Stitt; John Simmons and Jo Jones were stylistically rooted in the swing era. The mystery man here is Fletcher Peck, about whom nothing is known, in his only recorded appearance. The standards, “They Say It’s Wonderful” and “Why Do I Love You” are taken at medium and up tempos respectively. Stitt’s “Symphony Hall Swing” (also known as “Mass Ave Swing”) is built on “I Got Rhythm” changes and borrows part of the melody from Thelonious Monk’s “Rhythm-A-Ning.” His medium-paced blues “Sonny’s Bunny” was recut for Roost three years later with Quincy Jones’s orchestra backing up the saxophonist. Sonny shifts to alto sax for balance of this album. The second (December 15/16, 1955) and fourth (August 30, 1957) record dates in this collection reflect an inadvertent advantage of Stitt working as a single rather than as a band leader. In the hands of the right producer, Stitt could enjoy first class rhythm sections that wouldn’t consider going on the road. The ’55 session yields gorgeous readings of “The Nearness Of You,” on which Basie guitarist Freddie Green joins the quartet, and “If I Should Lose You.” The third session here, which produced “37 Minutes And 48 Seconds With Sonny Stitt,” comes from late 1956 or January 23, 1957 date. The three alternate takes add another 10 minutes and 49 seconds to the mix! Dolo Coker, Edgar Willis and Kenny Dennis all make their recording debut here. They may have been working with some regularity with Stitt. Stitt takes “Sweet Georgia Brown” at a furious tempo with a clear bebop attitude. The medium-slow “Blues For Yard” is Sonny’s tribute to Charlie Parker, whose magnificent blues playing is often the most overlooked aspect of his achievements. Stitt digs deep on “Harlem Nocturne,” a perennial sexy feature for tenor saxophonists. That Rolls Royce of rhythm sections (Jones, Marshall and Wilson) returns for “Sonny Stitt WithThe New Yorkers” represented here by alternates of a blues and two standards. Stitt’s solo turns “Engos, The Bloos” into a dazzling bebop masterpiece. By 1957, the 12” LP format was the standard. The quartet takes advantage of the extended playing time by stretching out on “People Will Say We’re In Love” and a soulful “It Might As Well Be Spring.” Sonny Stitt was a true improviser and his solos on these alternate takes differ substantially from the later takes chosen to be the masters. Some of them were uncovered by Teddy Reig in 1986 for an LP entitled “Symphony Hall Swing.” The rest were first released on the 2001 Mosaic CD collection “The Complete Roost Sonny Stitt Studio Sessions,” but have yet to appear on the vinyl format.

  1. Important records we believe should be in everyone’s collection
    Bill Frisell "Nashville"
    Available for the first time on vinyl, Bill Frisell’s Nashville is limited to only 3,000 copies and is available for pre-order now!
    Pre-order now before it's gone forever.
    PRE-ORDER NOW
How does run out groove work?
Now you know what you do as a member of the Run Out Groove collector community, but exactly how do we put these special limited edition releases in your hands?
vote
Each month, we provide a list of titles that could go to press, and you vote for the one you'd most like to have in your collection.
1
pre-order
The title that receives the most votes is available for pre-order for 30 days only.
2
Record is pressed
When the pre-order window closes, we announce how many individually numbered records will be pressed in the one-time run and begin production. It takes 8 to 12 weeks to deliver the finished LP.
3
Delivery
We ship the records to those that pre-ordered and to participating record stores.
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