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Custom developed or painstakingly sourced, Our fabric selection for each garment is carefully considered to meet our extremely high standards of quality, fit and finish.

Our State-Side canvas represents what grown and sewn is all about. Simple, durable, and practical. 

Custom developed with Kurabo Mills, Japan. This is the fabric our original prototypes were made from.

8oz 100% cotton brushed canvas is the softer, lighterweight cousin to the State-Side canvas. 

Developed in Britain in the 14th century Bedford cord has truly stood the test of time

Billy Martins Wicked Knee - 'heels over head' Vinyl Record

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ere, drummer Billy Martin, of the inimitable Medeski Martin & Wood, leads his compact avant-brass group through its second release. Its name derived from Shake Your Wicked Knees (a compilation of piano rags, blues and stomps of the ’20s and ’30s), the quartet includes fellow Lounge Lizard Steven Bernstein on trumpets, tuba player Marcus Rojas and trombonist Curtis Fowlkes. Together they explore the New Orleans brass-band tradition through the prism of Downtown NYC jazz.

This unorthodox configuration offers space for engaging, often-whimsical interplay and inspired improvisation. Frank London’s syncopated “Ghumba Zumba” opens, underscoring the group’s second-line approach, its melody serving as a springboard for exploration. (A similar strategy is used on Bernstein’s infectious “Sugarfoot Stomp.”) The leader’s dirge-like “Chaman’s Interlude” features didgeridoo-esque blowing, bells and drum flourishes; his bluesy “99%” showcases guest vocalist Shelley Hirsch musing on hard times; and his drumless “Rendezvous” highlights brilliant brass hues. Covers include a stretched-out version of the White Stripes’ “The Hardest Button to Button,” deftly arranged by Bernstein, and a bouncy rendition of the traditional ranchera “Canta y No Llores.” The otherworldly atmosphere on the collectively composed “Noctiluca” is created through Martin’s scraped cymbals, bowed waterphone and assorted percussive devices. Combined with Rojas’ droning and Bernstein’s echo and delay, the cut brings this set to an eerie yet satisfying close.