Bill Hughes (1954)

Tal Farlow Quartet, Blue Note 5042, 1954, photo by Francis Wolff, design by Bill Hughes

In previous entries on this weblog, I have detailed the early contributions of both John Hermansader and Gil Mellé to the design canon of Blue Note Records. Both preceded the deservedly legendary Reid Miles and were featured prominently during the 10-inch long playing record era. Our subject today is another name from that same time period, one that crops up only on a very rare few discs and one whose story remains open-ended. The name Hughes first caught my eye as a credit on Tal Farlow's stylistically striking debut disc sleeve from 1954. Contrasting a Francis Wolff session photo of one of the most remarkable bop electric guitarist to emerge from that era, is a pair of geometric images not to far off from the Bass/Whitney opening sequence to Alfred Hitchcock's Vertigo (although that was to come a few more years down the road). 

Julius Watkins Sextet, Blue Note 5053, 1954

The The Farlow sleeve is the first of only 3 Blue Note LPs whose design credit is given to Hughes...Bill Hughes to be correct. All 3 are 10-inchers and share a certainly level of minimalism that provide a contrast to the other design ideas utilized by Alfred Lion during his label's adolescence. The discs in question were all released within the same calendar year, which of course begs more questions. Unfortunately in this case, there are not a lot of answers.

The Gil Mellé Quartet featuring Lou Mecca, Blue Note 5054, 1954

Another clue lies in the third disc design credited to Hughes. Thanks to the subsequent anothology of Mellé's Blue Note output, we have learned that Hughes was also (or perhaps primarily?) a photographer and that he was responsible for taking the photo that graces BN 5054's sleeve. Shot in the same year of 1954 at a Town Hall concert, it remains one of the few photos of Mellé much more so one of few photos of him performing live. 

Miles Davis, Vol. 3, Blue Note 5040, 1954

But I propose that perhaps Hughes contributions to the label did not end there. There are a few releases around this time that lack contemporaneous credits of any sort. The first example is third 10-inch volume by Miles Davis, cut and released near the beginning of his first "rebirth" of sorts. Only 2 releases earlier than the Farlow disc, it bears some notable similarities to the latter - particularly with the Wolff session photo contrasted to a geometric-based background. I suspect (and this is pure speculation, of course) that Hughes was responsible for the design in this case as well.

 Elmo Hope quintet with Frank Foster and Freeman Lee, Blue Note 5044, 1954

Another Hughes-design candidate comes a couple issues after the Farlow disc in the catalog. New York-born pianist Elmo Hope's second Blue Note LP features another stark, minimalistic design not too far off from Hughes second and third credited contributions to the label. It's a further stretch than the Davis disc, but should at least be a suspect in this case. Regardless, Blue Note Records was clearly a growing enterprise at this stage. Not only were they experimenting with their roster of musicians and where the music was recorded, but they were working from an impressive pool of graphic designers. All of this contributed to an exciting flash in time. While perhaps less stylistically unified as the "classic" late-'50 through mid-'60s time span that many (if not most) think of when they hear the phrase Blue Note, this time period showed a high degree of experimentation both aurally and visually.

Jumpin' at the Woodside, A Buck Clayton Jam Session, CL 701, 1955, photo by Bill Hughes

But the Hughes story ends there for the most part. Unfortunately, in this overly-informed age the Hughes story seems to have slipped through the cracks...for now, at least. His name does crop back up a year later on a sleeve photo credit for Columbia Records, but there is very little evidence elsewhere that gives much plot to the Bill Hughes graphic designer and  photographer story. It is my sincere hope that today's entry changes that and I look forward to reader contributions that pick up this thread.

The MIT Chapel (1955)

The MIT Chapel, design by Eero Saarinen 1953-1956, photo by editor 2013

When one speaks of mid-century modern, I suppose one could not get any more mid than the year 1950. And it was in that year that the Massachusetts Institute of Technology (MIT), engaged Finnish-Amerian architect and industrial designer Eero Saarinen to design a chapel and auditorium on the grounds its campus located in Cambridge just across the Charles River from Boston. The Boston area is rarely thought of as a haven for modernism in the design sense: it is a North American city with deep and significant historical roots stretching back long before the American Revolution and much of the urban renewal that brought about New Boston occurred long-after the modernist ideal had been supplanted by later notions. But MIT was progressive in this sense, the legacy of which can still be seen  on its campus today.

Eero Saarinen, 1950

Saarinen at mid-century had a string of notable achievements and was a known quantity within the design community. His collaboration with Charles Eames resulted in recognition by the MOMA in New York City as well as their participation in the Case Study House program in California (Number 9 to be exact). Eero had spent a good portion of the 1940s working in his father's architecture firm but after the death of the elder Saarinen in July of 1950, the younger launched a shop of his own. At just 85 years old in that same year, MIT was something of a young university - particular compared to its many esteemed and much longer in the tooth neighbors. In some ways, it lacked the traditions that a school such as Harvard had by that time, which may account for it's more forward-thinking artistic engagements.

Interior, The MIT Chapel, photo by editor 2013

The Saarinen MIT commission spanned a period of approximately 6 years. After his selection by the university, Eero shifted his focus on a similar commission for Brandeis University in neighboring Waltham. The Saarinen chapel at Brandeis was eventually scrapped by the planning board as they could not come to an agreement on some of the basic details with the architect. Their loss was certainly MIT's gain, as Eero infused his next project with many of the more interesting and innovation design ideas that he had proposed for the larger structure at Brandeis. He also drew upon his travels in the mid-1930s through the ancient world, particularly Greece and specifically Sparta, which directly influenced his skylight design. Construction began in 1953 and was for the most part completed by 1955, although the roof sculpture was not added until the following year.

Podium sculpture, Harry Bertoia, The MIT Chapel, photo by editor 2013

The resulting building remains as stunning today as I expect it was on it's dedication day. Saarinen created a haven: a place of remarkable peace and tranquility. The brick, wood, and marble evokes the  pre-Christian world refashioned into something modern yet timeless. His use of light - both natural and artificial - is masterful.  The final touches are both contributions from other artists. Harry Bertoia, who like Eames had first met Eero at Cranbrook University, provided the metal sculpture which descends from the ceiling to the base of the podium/altar. Other writers have focused on the speculative literal meaning of the piece, but it is simply a beautiful accent that deflects the incoming light in a hundred different direction. Interpret it as you wish. Theodore Roszak designed the abstract bell tower or spire which was added to the building in 1956.

The MIT Chapel is a singular structure: devoid of any denomination, yet vibrantly spiritual and a shrine to solace. I would expect - if not hope - that its chairs have been full these past couple of weeks. 

The Great Gatsby (1945)

The Great Gatsby, F. Scott Fitzgerald, 1925, first edition, cover by Francis Cugat * (see note below)

88 years ago, on April 10, 1925, Charles Schribner's Sons first published F. Scott Fitzgerald's The Great Gatsby. The novel was met with mixed critical reaction upon it's release and only moderate popular success. In fact, the first edition sold a mere 24,000 copies over the course of it's initial run. By the time Fitzgerald died on December 21, 1944 at the age of 44, the book had been out of print for several years.

F. Scott Fitzgerald, 1937, photo by Carl Van Vechten

Eight years prior, a second-year Harvard undergrad by the name of James Laughlin published the first New Directions anthology. The roll call of authors New Directions published in the subsequent few years is astounding, particularly as many were being introduced to the general public for the first time: Tennessee Williams, Lawrence Ferlinghetti, William Saroyan, Wallace Stevens, to name just four. In addition to spotlighting then-contemporary modernist literature, New Directions began reprinting many authors (such as Henry James and Evelyn Waugh) whose works had never been re-printed after their initial publishing runs had ended. 

The Wisdom of the Heart, Henry Miller, 1941, jacket by Alvin Lustig

Part of the spirit of New Directions was reflected in its strikingly modern dust jackets. In 1940, Laughlin was introduced to graphic artist, designer, and ex-Frank Lloyd Wright acolyte Alvin Lustig by bookseller and literary scene-maker Jacob Zeitlin in Lustig's Brentwood, California studio. Laughlin later said that he only needed to spend an hour with the artist before he knew he was in the presence of what he called "authentic creative genius". A commission for the jacket of the New Directions 1941 editions of Henry Miller's The Wisdom of the Heart and Carl Rakosi's Selected Poems soon followed. But while these works reflected the style Lustig had developed up until that time: his next series of work for New Directions, twenty-five books in the publisher's New Classics series, came to represent an iconic style for which Lustig (and to a lesser extent New Directions) is most well-known.

Alvin Lustig, 1945

Among the titles in the New Classics series was Fitzgerald's The Great Gatsby, which was published for only the second time in 1945. A new wave of book reviews followed in the wake of the release. This time around Fitzgerald's novel was being reconsidered, not as the period piece it had been regarded as for the most part over the prior twenty years, but rather as something important and perhaps great. To the point, the New Classics edition marked the beginning of The Great Gatsby as being a true classic of modern American fiction.

The Great Gatsby, F. Scott Fitzgerald, New Classics 9 / New Directions 1945 edition, jacket by Alvin Lustig

Momentum continued on both scholarly and popular fronts through the end of the decade. Somewhat ironically, Paramount Pictures in Hollywood began a film adaptation production in 1948 directed by Elliott Nugent and starring Alan Ladd which was released in July of 1949. The irony lies in the fact that Fitzgerald spent his last booze-soaked years in Los Angeles trying to eek out a living writing for films. This first film adaptation drew from both the original novel as well as Owen Davis's 1926 short-lived adaptation for the Broadway stage. Incidentally, the screenwriters were Cyril Hume and Richard Maibaum, the latter being the very same Richard Maibaum who wrote the screenplays of the majority of James Bond films from 1962-1989. In the academic world, at least two books were published in 1951 concerning themselves with Fitzgerald's life and importance. This opened the floodgates to several scholarly works at the highest levels of academia, the sum total of which set The Great Gatsby on the pedestal upon which it still rests today.

Alan Ladd, 1948 Paramount Pictures promotional photo

For further reading, I highly recommend this excellent 1960 New York Times piece.

* An entire weblog entry could be devoted to Francis Cugat's somewhat controversial cover art for the original 1925 edition. Here is what purports to be the untouched original painting, although I cannot vouch for its authenticity. Fitzgerald (perhaps influenced by Ernest Hemingway) later claimed he hated the cover and went to great lengths to apologize for it. And yes, Cugat was the brother of the famous New York-based bandleader who popularized the rhumba: Xavier Cugat. 

John Simons Online (2013)

While your faithful editor spends the week back in Boston, our man in London, Jimmy Mellor, reports in with and exciting development for us Ivy enthusiasts who don't make it across the Atlantic nearly as often as we would like to...

Last month saw the launch of the long-awaited John Simons online shop: a brave new venture for John and his son Paul, as they have built their reputation on personal service and a personal relationship with their customers. You pop in for a shirt, a conversation develops, before you know it you are invited for a drink! The personal touch has always been the hallmark of shopping at  'John's' in each of his many shops over the years and so translating that same level of attention to detail has been the challenge in setting up the new online shop. Hence it being long awaited. Unless it could be done really well the feeling was why let down the customer with anything less?

The new website is still in development and growing daily - probably that will always be the case as there will always be new stock to showcase, new designs from John to debut, an dnew additions to the nature of the shop. Last time I was in, John showed me some vintage thermos flasks he'd acquired purely for the perfection of their design.
 

Being an independent retailer the London shop is a one-off and that has been the main reason for the move into online. Unless you could visit the shop or were happy to mail order over the telephone (a service John has always supplied) then the frustration for many was in wanting to see and get their hands on the clothes that kept on being discussed. Facebook helped to an extent in spreading the ethos and culture of the shop and Twitter provided updates on the latest, but in the computer-centric world we now all live in (for good or ill) the move to adding an online shop to what John has been doing since 1955 had to come.

And I think it's been well worth the wait. What I would have given for a service like this when I first started out as a 13 year old kid in 1978 with an instant obsession for the clothes I'd seen on my Uncle's old Modern Jazz LP sleeves. In England, unless you knew about John Simons (and I didn't back then), you simply could not get the clothes. You'd get something that came kind of close if you really hunted around but it never would be quite right. Trust me, before encountering John Simons I spent 8 years and wasted a lot of money on trying to get The Look. Now it's all there at the click of a mouse.

Already online from John you can equip yourself with an Ivy League wardrobe from head to toe. Especially of interest is the John Simons Apparel company range of John's own designs informed by his encyclopedic knowledge of menswear. All unique products that you just won't find anywhere else. The shirts due to their production runs have already attracted a 'stamp collector' mentality with John's earlier designs now changing hands for the sort of prices rare records attract. Again, trust me on this as I am putting together a John Simons archive of items from his earlier shops to date. Beyond the very generous donations from long time loyal customers there can be much haggling over all the rest - which is all great good natured fun.
 

Amongst the various rarities I've collected so far from The Ivy Shop, The Squire Shop, The Village Gate, J. Simons, and now John Simons Est.1955 (all the brain child of John), a Lion of Troy buttondown from The Ivy Shop purchased in 1969 by Mr. Ian Hingle especially stands out as he also enclosed a photograph of himself wearing the very same shirt from that year. So timeless is the style that it could have been taken yesterday. Ultimately the collection will be offered to the Victoria and Albert Museum, London.

For Ivy style fans in England things have rarely been so accessible and now also for the world due to the Internet. Which is just how the style should be.

- Jimmy Frost Mellor, Ivy League Menswear Consultant and Archivist

Editor's Note: all of the items pictured are from John's current online inventory. Be sure to follow one of the links to see the full online selection. 

Donn Trenner (1927)

Donn Trenner, Nola's Penthouse Studio, New York, New York, February 1947, photo by William Gottlieb

A belated Happy Birthday to pianist, arranger, and musical director Donn Trenner. Donn was born in New Haven, Connecticut on March 10, 1927 and has been in the music business since the age of 15. After many long, storied years he is back in Connecticut and often performs in New York City. His list of musical associations is just amazing, having performed and/or recorded with everyone from such modern jazz men as Charles Mingus and Stan Getz, to vocalists such as Nancy Wilson and Lena Horne...and not to mention legends such as Ben Webster. But of particular interest to readers is the fact that Donn Trenner is the member of a very exclusive club. A club whose membership is dwindling by the year. Donn is a rare bird indeed as he is one of the last surviving musicians to have played with Charlie Parker! 

Charlie Parker, Chet Baker, Donn Trenner, Larance Marable, unknown, The Tiffany Club, June 1952

To be honest, this may be just another footnote that I read with great interest, but then moved on to fill my head with more musical and historical knowledge, if it weren't for vocalist Shaynee Rainbolt who commented on a post of mine last year. One thing led to another and I found myself exchanging messages with Donn himself. So I took the opportunity to use this connection to ask Donn to go a little deeper into his association with Bird. The facts are pretty straight-forward. On May 29, 1952 the Charlie Parker Quintet opened up for a two and a half week run at The Tiffany Club in Los Angeles. The Tiffany Club was located at 3260 8th Street near the corner of Normandie, a part of LA was jumpin' in the early 1950s. The Haig club was just Northeast a few blocks, not to mention The Cocoanut Grove in The Ambassador Hotel. But that stretch of 8th Street itself was a hub with the 400 Club, The 331, and Agua Caliente all easily within walking distance from one another. Bird by this time had begun his latter-day association with Norman Granz and had most recently recorded for Mercury Records with the Joe Lippman Orchestra back in March in New York. Most of his live appearances at this stage of his career were as a single, that is appearing as a solo star backed by trio or quartet consisting of local musicians. Although Trenner spoke to James Gavin in depth for the latter's dark portrait of Chet Baker, Deep in a Dream, Donn was kind enough to answer some questions of my own about the experience:

A Modernist: Had you played with Parker before the rehearsals for the Tiffany engagement?

Donn Trenner: No, I had never played with him before 1952. 

AM: Tell me about how you got the call for the gig

DT: I received a call from an agent. The agent was Associated Booking Corporation. It's the same agency that Joe Glaser had in New York, only they had a Beverly Hills office. Cliff Aaronson called me and asked me if I would like to put the band together for Bird. And of course I said yes!

AM: What prompted you to hire the musicians you hired?

DT: I had some information from Cliff, that he [Parker] would like to have Larance Marable. And I think that he mentioned Chet Baker, although I knew Chet from all over for a long time. The story that Chet told was totally fictitious. It wasn't a trumpet competition, I called him and hired him.

AM: Did suffer any blowback from the other local musicians who you did not call for the gig?

DT: No, I did not suffer any fallout from anyone for not giving them a call.

AM: How about the claims that Parker changed his playing to allow for Baker's supposed deficiencies?

DT: I don't remember anything about Bird changing his playing to accomodate Baker's playing level. It's very possible. Although Chet was a wonderful player - perhaps inexperienced at that time in his own career, he played very well.

AM: Do you have any particular memories of Bird?

DT: My memories of Charlie were unbelievable. I remember that he loved Mexican food. So very often on breaks at The Tiffany Club we would take him over to a Mexican restaurant and he would stuff himself. He drank a lot. And he put it down rather quickly. But I found him delightful. Very personable. I found no friction or tension in the engagement with him.

AM: How about that photo of Helen Carr with the band?

DT: Of course, Helen sat in one night and that was the night that I guess Bill Claxton was there and took that picture.

Gavin's book provides some more info about the legend that sprang up regarding Baker's selection as the trumpeter in the combo. I can't really recommend the book (it's a tough read at times), but you can take a peek here.

If you want to dive a bit deeper into some of the highlights of Trenner's musical adventures, I strongly recommend this lengthy interview with Donn conducted by Harry Platcow. Enjoy!

Garry Winogrand (2013)

Garry Winogrand, New York, 1957, photo by Lee Friedlander 

El Morocco Club, New York, 1955

Los Angeles, 1964

New York, 1968

Those of you keeping score at home may have noticed that I have been on something of a New York kick recently. Well, a good visit to the Big City can do that to a guy! Obviously, someone has been paying attention for not too long after I returned home to San Francisco, the SFMOMA launched its Garry Winogrand photography exhibition. This is the first retrospective of its kind and is segmented into 3 sections: New York 1950-1971, Everywhere else during the same time period, and LA from 1971 until Winogrand's death in 1984. I was fortunate enough to get a preview last week and was knocked out. Frankly, I knew next to nothing about Winogrand walking into the museum that night but was captivated by his work. The photographer is widely being touted for showing both the promise of and disillusionment with the American Dream of post-war Middle Class Society. Who am I to argue? There is a gritty reality to many of his photos that rivals that of his friend and contemporary Lee Friedlander. New York is a city that always looks great in monochrome regardless of the era. It has a depth and texture that is well-served by the lack of color. Winogrand shot almost exclusively in black and white and with a solid third of this exhibit dedicated to New York and its environs over the span of twenty years...well, I think you get my drift. I highly recommend this exhibit if you are going to be in or around San Francisco now through June 2, 2013.

For more information on Winogrand the photographer, Eric Kim's post from last year is positively epic.

For more information on the SFMOMA exhibit, click here.

The Andover Shop (2013)

During my very first visit to Boston, Massachusetts last week, I finally had the opportunity to make a pilgrimage to the legendary Andover Shop across the river in Cambridge. What's the fuss, you ask? Well, The Andover Shop is the spot that directly links post-war modern jazz with Ivy League style. It has here that Roy Haynes had his suits custom made: the "slickest sh*t out"in his own words. It was here that a cleaned-up Miles Davis chose the threads that were to be part of his mid-1950s "comeback" image. And it was here that proprietor and acknowledged jazz-fan Charlie Davidson forged life-long friendships with customers such as Chet Baker.

The building itself is a simple unassuming modernist building located on a quaint (yes, I said quaint) New England side-street: 22 Holyoke to be specific. I have to admit, that I was taken a little a back upon arrival...and pleasantly surprised. I expected something along the lines of what Brooks Brothers on Madison Avenue is trying to be: more old club, old world. It is clear here that form followed function. The Cambridge shop is Charlie's second location, he opened the first on Main Street in Andover, Mass. back in 1949 after he left the employ of J. Press. But it was this place, the Cambridge address, which became the place.

I was greeted at the shop by Zach DeLuca who runs the excellent Newton Street Vintage shop on Etsy as well as The Suit Room weblog/Tumblr. Both are highly recommended if you are not familiar with them. I introduced myself formally (we had only met via the 'net) and set about exploring the store with Zach as my guide. I will admit to being slightly overwhelmed as I really wanted to soak it in. It is a dispensary in the best sense of the word: quite organized and well-stocked. The staff, who totaled four on this particular Monday morning, moved through the narrow aisles with knowing ease. 

Gerry Mulligan at The Andover Shop, photo by William Claxton (obscured), 1956

Meeting Charlie was exactly what I had hoped it would be. After some small talk about Roy Haynes and the Newport Jazz Festival, Charlie inquired if I was a musician. When I replied yes and that I played guitar, he responded with the jab, "That's not a real musician!" I expected nothing less. Ice broken, he proceeded to tell me some of his favorite six-stringers and I was very pleased to hear that Barney Kessel was near the top of his list - particularly since the neighboring Berklee School of Music seems to have it out for ol' Barney. Apart from some enjoyable jazz talk, I did pick up some basic, but essential clothier wisdom that the customer should be happy with the garment in the shop. It matters not what the clothier thinks, nor what the tailor may be able to do. This echoed a similar piece of advice that I picked up from Alden years ago (your shoes should feel good when you walk out of the shop...a "break-in" period is something of a myth). As I was paying for my American-made Hickey Freeman Hertling high-rise grey flannel trousers and saying my goodbyes, Charlie held out his hand and said, "I'm really glad you came into the shop today." Thank you Charlie. I am really glad that came into the shop too!