Style File No.1

My 2010 year-end bonus was a gift card: a significant amount of money to shop at Sak's Fifth Avenue with. Downtown San Francisco features a 4-story Sak's men's shop with a wide variety of items, brands, etc. Unfortunately for me, I quickly learned two things. First, what I thought (and still think, frankly) was a significant amount of money really wasn't compared to the prices at the shop. And, second, SO much of these high-end goods were made offshore in countries well known for - let's just say, lesser quality goods. No, I have been not living under a rock. And, no, I am in no way a jingoist/nationalist/etc. But I do appreciate well crafted items, whether they be a pair of shoes or an archtop guitar. And I do like the notion of supporting businesses here in the USA (and California and San Francisco, for that matter) particularly in these days of The Great Recession. So, try as I might, I just couldn't bring myself to spending all of that money on an overpriced designer sweater made down the street from where my ragged Land's End cable-knit shawl collar sweater was hobbled together on the cheap. So after several visits, I finally used the money towards a pair of cool Oliver Peoples sunglasses. Of course, I had to pony up some cash to make up the difference. The model is called the Sheldrake.

Two things I should say about Oliver Peoples. First, they retail for WAY more money than I care to pay for sunglasses. But the aforementioned gift card eased that pain. Second, they are very well made (in Japan). My reading glasses which I have had for maybe 15 years or so are by the same maker and they have held up quite well. In fact, I can think of very little that I have had for that duration of time that has held up similarly.

The Sheldrake is supposedly "inspired by Andy Warhol" - although he was furthest from my mind when I saw them and tried them on. Well that's an exaggeration. Lady Gaga was perhaps further from my mind when I saw the pair of Sheldrakes and tried them on. More of an immediate connection was Miles Davis on the cover of his 'Round About Midnight LP or any number of musicians Francis Wolff photographed while recording for Blue Note. They have that later-1950s/early-1960s look down to the keyhole nose opening. Heck, they aren't even too far off from what President Kennedy was often photographed wearing.

Where am I going with this? Well, the whole experience above is one of the reasons I have been thrift shopping more and more as of late. There are some wonderful clothes being produced out there. I can even afford some of them these days. But I still don't feel right about dropping all that cash. Plus there is something intrinsically socially conscious about recycling clothing. I've started to think of what I use and refuse as "my pile." In other words, when I shuffle off this mortal coil, I am going to leave a pile of material possessions. How big is that pile going to be? Will people be able to use what's in that heap? Something to think about - or at least something that I think about.

Today's trawling was fairly rewarding. For a mere $23.98 total, I managed to pick up a couple items of note...

1960s Bass Weejuns. Size 10 1/2 B. The older brick red burgundy color, well before Bass switched to that kind of awful burnished brush-off finish. Made in the USA naturally, well before Bass started production of their shoes in Central America. OK, to be fair, they are too narrow for me, but I have already found a friend who wants them. With some basic cleaning and a "bullet" shine from my friends down at A. Shine & Co., they will be things of beauty.

Navy blue 3-button sack blazer. Tropical-weight wool, 3/4 lined. Tailored by Southwick for Lew Ritter. Ritter had his origins in 1936 in New York City, and eventually expanded to Los Angeles in the early-1950s. To the best of my knowledge the shops have all closed. But back to the jacket. It needs a few days airing outside, but Spring is indeed here and there is no rain in the forecast until the weekend. Add a new set of buttons and I will be ready for mocktails.

I might never need to step foot back into Sak's again.

Spring Is Here

Kim Novak, circa early-1950s

Photographer Unknown

Joe Morello (1929-2011)

"Take Five" by the Dave Brubeck Quartet

Jazz Casual

Recorded & Produced for television by Ralph Gleason & KQED

San Francisco, Calif., U.S.A.

Rest in peace, Joe.

George Shearing (1919-2011)

At the age of 91, pianist Sir George Shearing has passed away. May he rest in peace. In addition to his formidable talents a modern jazz piano player, he was responsible for introducing such names as Don Elliott, Denzil Best, Cal Tjader, Toots Thielemans, and Armando Perazza to the record buying public at large due to his successful string of records on MGM and Capital during the 1940s and 1950s.

For a taste of the Shearing Sound, near the beginning of its life, dig these 1950 film recordings of his quintet featuring Chuck Wayne (guitar), Don Elliott (vibraphone), John Levy (bass), and Denzil Best (drums) just burning in the coolest manner possible through 4 tunes. Elliott recently had replaced original Quintet vibraphonist Marjie (aka "Margie") Hyams. Levy would soon leave to manage the group, to be replaced by Al McKibbon. Best, of course, was the composer of "Geneva's Move" (aka "Move") as well as numerous other early bop tunes. And what can one say about guitarist, Chuck Wayne? Nimble, inventive, and fluid. It's music like that that continues to inspire me to practice my craft!

Side Note: most references to these clips claim they are soundies made to be viewed in bars and nightclubs on Panorams, but the fact that they were filmed in 1950 dispute that claim. It is more likely that they were meant to be shown in movie houses in between feature length films. Regardless, the Jazz on Film site reports that there is a 5th song out there from the same session, "I'll Never Smile Again". Let's hope it surfaces some time soon.

The Record Player (1939)

Original painting by Karl Hofer (1878-1955)

Oil on canvas

Currently at the Nelson-Atkins Museum of Art

An example of "degenerate art" according to the ruling party of Germany at the time. Hofer painted the above in Berlin during a period when he was officially barred from either painting or exhibiting.

Art Ford's Jazz Party (1958)

If you lived in the greater New Jersey area in 1958 and could get your self to a television at 9 PM on Thursday night, you could catch Art Ford's Jazz Party. A 90-minute program, broadcast by WNTA-TV on Channel 13, it lasted from May 8th until December 25th of that year. In an era where television was good to jazz music in general and particularly to Modern Jazz, it offered a unique mix of musicians from nearly all streams of the music - from New Orleans through Swing, plus some Modernists. Recorded sessions were reportedly conducted without rehearsals or set-lists and featured rare glimpses of both legends and obscure stylists.

A kinescope transfer of most of the September 18th broadcast is currently up on YouTube and below for your viewing pleasure. Several other clips have surfaced over the years in varying degrees of quality. What I like particularly about this episode is the appearance of guitarist Mary Osborne, who is sadly overlooked by many if not most jazz historians due in no small part to her relatively small recorded output, and perhaps more so due to the fact that she was a woman. She was one of Charlie Christian's most talented disciples and actually knew the legend during his lifetime. She definitely deserves more ink, virtual or otherwise, so in addition to reading this month's Vintage Guitar magazine, do your self a favor and search around the 'net a bit.

Guitar Geek Note: it looks to me that Mary is playing an extremely rare Stromberg G-5 made in the early-1950s in ridiculously small batches. It could be one of only a dozen of these guitars made. There are some beautiful photos of a slightly earlier, but similar, Stromberg here. Add to that the rarity (and admitted something of an oddity) of a Gibson-manufactured "finger rest pick-up" (aka the Ted McCarty Pick-up) being used to amplify the guitar, and you have quite a sight (and sound) indeed. Incidentally, Jason Lollar is making a reproduction of the McCarty Pick-up for those that might be interested. Enjoy!

Personnel Note: be sure to click through to the 'Tube for some fairly detailed personnel notes as well as some interesting comments. If you want a more concise listing of personnel, click here and scroll down to September 18, 1958.

The Vogue Theater (1939)

The Vogue Theater, 1948

3920 Sacramento Street, San Francisco CA USA

Photographer Unknown

One of San Francisco's sole remaining single screen neighborhood movie theaters (the grand Castro Theater, which will soon feature the wonderful Noir City film festival, being one of other notable movie houses in this category), The Vogue Theater on Sacramento Street near Presidio Avenue has been in operation since 1910, second only to The Mission's Roxie. Opened as The Elite and briefly known as The Rex, it was rechristened The Vogue in 1939 and has remained as such ever since.

The missus and I used a early-weeknight showing of the Coen Brothers True Grit to check the theater out. It truly is a neighborhood theater in all of the best ways. Minimal (1?) staff, simple but appropriate appointments and conveniences. The theater is beautifully renovated and reflects its early 20th Century pedigree in styling and little details such as the etched glass door windows leading to the auditorium. There is a small amount of historical memorabilia on the lobby walls, well worth a few minutes of your time en route to the restroom. After reading a couple of less than favorable Yelp reviews, I had some concerns about the sound system, but it was fine. Folks don't realize that contemporary movies are over-mixed and geared towards the highest common denominator (that's why you are always riding the volume control when you watch a DVD at home). I will most likely have to rent True Grit again to catch some of the dialog, but frankly that is probably Jeff Bridges fault not the theater's.

So what differentiates the Vogue? Well, it focuses on first runs, something a of rarity with these old movie houses anywhere. The Castro has picked up on this trend and I do applaud them for that, especially as they have fairly discerning taste when it comes to programming. More and more, I've been giving more thought as to where I want to spend my money. If I am gonna fork over $10 to see a Hollywood first-run production, I want to have some control over who profits from the transaction. Think of it as a locavore's approach to commercial consumerism. The extra time and planning it took was minimal and it made for all that much more of an enjoyable evening. Support these places while they still exist!