Friday, March 20, 2015

Spring is Here (1938)

The first chart hit version of Richard Rodgers and Lorenz Hart's 1938 composition "Spring is Here", as adapted from the Broadway production of I Married an Angel. Reisman was an extremely popular bandleader during the 1930s who enjoyed success with his recordings of several songs that were to become jazz standards including "Yesterdays" and "Alone Together". The vocal refrain on his version of "Spring is Here" was by Felix Knight, known by most Statesiders of a certain age and older as Tom-Tom in Laurel and Hardy's Babes in Toyland.

4 years later, the song reached a wider audience courtesy of Jeanette McDonald and Nelson Eddy's performance of the song in the drastically tamer film version of I Married an Angel. The movie was a box-office and critical failure, known in the history books more for what it might have been rather than what audiences saw in the theaters. One can thank the Hays Code and its neutering effect on a lot of film adaptations of contemporaneous Broadway source material.

The first jazz version of song is a matter that is in dispute. The 1954 10" LP (and 7" EP) Interpretations by the Stan Getz Quintet featured a stand-out early adoption of the tune by younger modernists. Recorded in the Summer of 1953 in Los Angeles for Norman Granz's Norgran label, Getz was joined by Bob Brookmeyer on valve trombone, Johnny Williams (as in, yes, that John Williams) at the piano, Teddy Kotick playing the bass, and Frank Isola behind the drums.

For more details about this composition and its history, I heartily recommend the entry here.

Wednesday, December 31, 2014

Happy New Year (1953)

Elaine Johannsen models a hat design by Mr. John of New York City, 1953
Photo courtesy of The Powerhouse Museum
Thanks to Karen Finlay

Thursday, December 25, 2014

Merry Christmas (1957)

Happy Holidays with Bing and Frank
December 20, 1957

Thanks to JazzWax for the share.

Friday, December 5, 2014

San Francisco (1957)

Market Street, October 1957, photographer unknown

This 1957 photo is just one of many wonderful found images that will be on display today through Tuesday, January 6, 2015 at Glass Key Photo, 442 Haight Street, San Francisco. The owners are avid collectors of vintage slides and this exhibit just represents the tip of their proverbial iceberg. They were kind enough to engage me to partner in this year's selection of the images under my Vintage San Francisco guise. There is also a book available of all of the images (and more) available here via Blurb.

What sets this exhibit apart? Well San Francisco Found is about exactly that, found images shot by amateurs with varying degrees of interest and skill. At times one feels like they are a voyeur, sneaking glimpses of other people's lives. At other times, it is as if you have stumbled upon a long lost Lee Friedlander or Weegee photo. 

If you are in San Francisco this evening. Please join us for the opening. 

Wednesday, November 19, 2014

Reid Miles (1956)

Patterns in Jazz by Gil Melle, Blue Note 12" LP 1517, 1956, cover design by Reid Miles

I know. I can hear it now. The last thing the internet needs is another blog post singing the praises of Reid Miles and his 12-year stint (1955 through 1967) as the principle LP artwork designer for Blue Note Records! Right? Well, of course one cannot laud Miles enough: his work for the New York jazz label was a masterful high-water mark of mid-century modernist design. But there was certainly more to  this well-known figure whose full story has remained remarkably illusive.

Mobley's Message by Hank Mobley, Prestige 12" LP 7061, 1956, cover design by Reid Miles

Born in Chicago on the 4th of July in 1927, Miles actually grew up on the West Coast of California. After the stock market crash of '29, his family moved out west as so many other families did during the Great Depression and ended up in Long Beach. A marital split left Miles in the care of his mother who supported he and his younger sister by working in a cannery in San Pedro. Most of his youth is undocumented, although it is known that Miles joined the U.S. Navy near the end of the Second World War, serving as a chauffeur. Upon his discharge he returned to Los Angeles and, according to Wayne Adams who would later assist Miles in the 1980s, chased after a girl and wound up enrolled in the Chouinard Art Institute. Chouinard was then located in MacArthur Park and would merge with the LA Conservatory of Music to form CalArts in 1961. Other Chouinard alumni, whose names will be familiar to regular readers of this blog, include graphic designer S. Neil Fujita and pop artist Ed Ruscha. Rushca and Miles almost certainly never crossed paths that the school as the former did not enroll until the mid-1950s. However, it is very likely that Fujita and Miles met at Chouinard as both attended the school around the same time - a very interesting idea considering how Fujita would later find him on the East Coast designing LP covers for Columbia Records a few years after studying in LA.

Herbie Nichols Trio by Herbie Nichols, Blue Note 12" LP 1519, 1956, cover design by Reid Miles

The person at Chouinard with whom Miles most definitely came into contact was the eventual head of the basic design program, Bill Moore. Moore is something of a West Coast design/art/animation legend who influenced generations of students over the course of nearly 40 years at Chouinard and CalArts. He is the thread the ties together such disparate names as Reid Miles, Ed Ruscha, Tim Burton, and Brad Bird - all of whom studied with Moore. Miles apparently had very little influences in his design life, but Moore was one of them and an early one at that.

Olio by Thad Jones, Prestige 12" LP 7084, 1956, cover design by Reid Miles

Leaving Chouinard before completing the courses required for graduation, Reid Miles made a bee line for New York City, scoring a job with designer John Hermansader. The timing was certainly right as Hermansader, through his friend and fellow designer Paul Bacon, began working with Blue Note Records in 1953 not too long after Miles arrived on the scene. Here is where the story gets a little hazy. While it is known that Miles worked on the Blue Note account, it is not known how much of the early (1953-1955) work was done by Hermansader, how much was done by Miles, and how much was a collaboration. May we indulge in some speculation? Based on the collective body of work Hermansader provided for Blue Note, he quite feasibly could have been another big influence on Miles.
Blue Note historians tend to downplay Hermansader's contributions, but his other surviving examples of visual art clearly indicate a notable talent. The raw materials are there in the work which Miles would develop into an art by the end of the decade, but the question remains just how much input Miles had into the Blue Note designs early on. Unfortunately, neither man is alive today to discuss and the period is poorly documented. At any rate, Miles - who would develop a history of transience - left Hermansader in 1955 for a job with Esquire magazine doing the layout and paste-up work. However, whatever his contributions were to Hermansader's Blue Note account, they were significant enough to catch the attention of the label's owners Alfred Lion and Francis Wolff who asked him to take a lead role in the design of 12-inch Long Playing records, the format that by mid-decade had emerged as the preferred format of most jazz releases industry-wide. Esquire was apparently well-aware of this arrangement and allowed Miles to moonlight - which usually meant working on 3 or so Blue Note LP covers on his Saturday off from the magazine, being paid $50 a job/cover. Later interviews would reveal Miles to be would could be termed a workaholic, in that to him his work was his life and the absence of former made the latter unbearable at times.

J.R. Monterose, Blue Note 12" LP 1536, 1956, cover design by Reid Miles

Contributing to an even more hazy story is the fact that a year after this transition and for a time space of nearly 2 years, Miles was also contributing 12" LP jacket designs to Blue Note's de facto, if not friendly rival Prestige Records. From 1956 until 1957, his name graced the jackets of nearly a dozen discs. Interestingly, this work is seldom cited by design aficionados, although there are some excellent covers that easily rival his contemporaneous work for Blue Note. There are definitely some similarities between the covers and one can see his style developing which each subsequent release. So here is one artist, simultaneously providing the visuals for some of the important modern jazz music recorded of its time (or any time for that matter). And, of course, Miles was famously not a fan of jazz, preferring classical. But this period is interesting, mainly as it is of such high quality and yet overlooked by most design fans.

Quadrama by the Gil Melle Quartet, Prestige 12" LP 7097, 1956, cover design by Reid Miles

A third influence should be mentioned at this time. After Moore and possibly Hermansader, Miles other major influence of the time was known to be Saul Bass. Bass needs no significant introduction to readers of this weblog, but it is perhaps helpful to put him into historical perspective. At the time that Miles was accepting a job with Esquire and getting down to business in earnest with Blue Note and Prestige, Bass was gaining widespread notoriety first for his work on the posters and titles for Carmen Jones (1954) and even more so for The Man With The Golden Arm (1955). His greatest innovation was perhaps the liberation of type from the galley, finding new ways to communicate the written word that flew (sometimes, literally) in the face of convention. Of course, in the design world Bass is a true legend and this history books have been kind to the legacy he has left behind.

6 Pieces of Silver by the Horace Silver Quintet, Blue Note 12" LP 1539, 1956, cover design by Reid Miles

Reid Miles perhaps enjoyed his most lucrative years well after his run with Blue Note. Some time in the early-1960s he started focusing on photography. By mid-decade it was his main focus. Miles returned to Los Angeles in 1971 and within a few years established a style and clientele that made him quite successful by anyone's terms - although he retained a drive and passion for his work which lasted until his death in 1993. Miles occasionally returned to album covers during the second act of his career, but his style by then had changed so significantly that few people made the connection. Fortunately, his mid-'50s experiments are well documented and, hopefully, well preserved for the ages.

Thursday, November 13, 2014

Wednesday, August 13, 2014

Brooks Brothers (1940)

Print ad, Brooks Brothers Clothing, New Yorker magazine, 1940

The Internet is a funny thing. No earth-shattering statement there for sure, but it is very interesting how much our culture and society has changed over the past 2 decades and how much of that has to do with technology in general and the Internet in particular. Scholarship, research, and eduction are only 3 areas which have been drastically effected by the way we all communicate and share information. What does this have to do with Brooks Brothers in 1940? The emergence/re-emergence/codification of what is now know as Ivy League Style has increased significantly over the past decade due in a great part to the Internet. Online forums and blogs have become clearing houses of information, shared experiences, core knowledge, and (sometimes) interesting discourse. It has also become the breeding ground for a lot of misconceptions due to poor research habits. 

There was a time when primary resources were arguably the only resources that held water. Everything else - such as faint (or vivid for the matters) memories of events fifty years in the past - was secondary in every sense of the word. There were also standards of citation which the Internet has perhaps most effectively done away with. Is all of this bad? No, not necessarily. But it has helped create an increasingly hyper-informed and under-educated society. 

But again you ask, what does this have to do with Brooks Brothers circa 1940? OK, I will answer the questions. The above scan from a primary source shows the classic Brooks Brothers OCBD (Google those initials for a good time) in 1940. Now what is interesting to me is not that only 2 colors (white, blue) were available. Nor is it that a US-made Brooks Brothers shirt cost the equivalent of around $30 in 2014 dollars. No. What strikes me most is that it features a breast pocket! Why is that so important? Well, general internet knowledge ™holds that Brooks Brothers did not add breast pockets to their shirts until 1965 or so. Much has been written and discussed around that. I bought into it wholesale for sure, taking it as fact and being uncharacteristically ambivalent about digging deeper. Certainly - or at least as far as I know - the Brooks OCBD lost its pocket some time between 1940 and 1965, but when? Why? 

My challenge to all of us that are interested, if not fascinated in these slowly vanishing traces of 20th Century culture is to dig deeper. Do your homework. Know your sources. Quote your sources. Edit your work. I suspect these words I type right now may very well last longer than the fingers that type them.