Fond memories of the Guv'nor in a Blue Brooks OCBD and a pair of Cords which were almost cream coloured - really light. No cuffs & a perfect minimalist break where they met his deep Brown loafers.

John Simons 'looks' that have stayed with me :

1. The 1987-1989 look - navy cashmere crew neck, blue BB oxford with the collars worn over the top of the jumper, dark grey early 60s Ivy sta-press style slacks, 1 and 5/8'' turn up, rare cordovan coloured ultra-slim penny Bass.

2. Same dates as above and a bit later - navy Ralph polo, great heavy plain front original 50s khakis worn really short, no socks, white Sebago docksiders or white Weejuns.

3. On special days - blue BB b/d, repp tie, dark navy pinstripe doublebreasted naturalshoudered suit tailored in USA by Linet. Alden cordovan English style half brogue.

4. The 2000s - hair worn much longer kicking back around the ears in a posh English kind of way, when cut a slight backcomb was affected. His look went more much English/continental and less Ivy. Vintage Savile Row jackets and suits altered to fit, buttons on cuffs that undo, oft worn with plain blue BB, or with a chambray or denim shirt. Collars on b/ds rarely buttoned down. Navy or olive cords worn with suede Grenson chukkas (always in stock in J.Simons). Went through a big spell of wearing tweed waistcoats. J.Keydge jackets in navy and natural coloured cotton oft worn.

Never seen him in wing-tips or a harrington. That side of it leaves him cold I think. The man has always been cool but has rarely seemed self-conscious about the clothes on his back. His hair on the other hand has long been an obsession of his. I recall hours spent in the mirror trying to press it down into the right shape. At one point he visited 2 different barbers (always a barber, never a hairdresser!) - one for the top and the other for the back and sides. Music - absolutely fixed on this. Hates soul, hates pop, hates reggae (though has been enjoying a bit of ska lately which through a lot of us). Believes jazz has redemptive qualities. Grew increasingly intolerant of 15 minute solos and became more hooked on and celebratory of melody, structure and texture in his jazz. This probably goes back to his teenage attachment to West Coast jazz. His heroes always seemed to be Art Pepper, Chet and Gerry Mulligan. He loved vocalists too - Anita O'Day, Dakota Staton, Blossom Dearie. There are a million wonderful John Simons stories. Not always an easy character, but a fascinating and essential one.


g.g.

through = threw   (thicko!)

Yes the ska it is the swing, the energy, the joyousness of the horn sections that get him

g.g.

Two things that allways stick in my mind.
Blue brooks ocbd allways with sleeves half rolled and collar unbuttoned
white keds and docksiders sans laces

Thats what was great about the place, it was more than a shop it was an education. If you were willing to learn.. no attitude. It was a warm and welcoming place as said. chatting to/ learning from  mr lally or simons.etc
clothes history, art, music, aesthetics ,design,films.. it was all in the mix at js

I honestly believe he's a great showman as well as a great salesman.  2 Russell Street always seemed to have an air of theatre about it when he was either sitting up by the till or roaming around.  Try finding that in Brooks!

'Believes jazz has redemptive qualities'.  It does, even when allied to Tin Pan Alley.

I got to the blues via Jagger and Richard, just around the time I was leaving school.  By 77, reggae - of the heavier dub kind - was thought to have more spiritual depth than punk - which was basically rock music played faster.  It was, then, the 'blackness' that counted.  Motown, just to wind backwards, was never really 'black enough'. 

First jazz I listened to on my own was Parker.  Took me a while to identify the link between jazz, blues and The Great American Songbook.

Buttons on cuffs that undo.  Keydge.  Excellent.