Neal Pollack

I put the automobile in park and turned the radio up, and this radio was sending me secret messages of good luck again because it was Gerry Mulligan’s big sax trembling. I looked away as Seamus swung his hand back and snap ! Langley, the poor fellah, couldn'’t have done a thing to avoid it coming. Seamus hit him a square one in mouth and I saw Langley fly forward, his hands dropping to his sides, and then I couldn'’t see what was happening because they were on the ground, in front of the automobile. Seamus was very quiet about it all and I saw him swing again. Some blood specked along the snow.

Langley was yelling, “She didn'’t mean anything! She didn'’t mean anything!” and each time he said it, Seamus lunged forward. “Please, my, my teeth,” and Langley being a trumpet player must have registered with big Seamus finally. He stood up and took a step back and his foot went right into the sap’s teeth.

“Yikes,” Clovis mumbled, and Seamus was putting his coat and hat back on, frowning.

In a moment, Clovis climbed out then and dug the wallet from the back of poor Langley’s pants. He robbed the poor sap and I hadn'’t thought he was going to do that. He got back in the coupe and threw Langley’s wallet down in the front seat and took out the fellah’s cash, then slipped me a twenty. I said, “No dice, Clovis,” and handed it back, but quickly.

We were driving away and I was beginning to think I'’d never ever be lucky again because I was just another two-bit among two-bits and there was nothing but scientific evidence of bad luck all around me. “High black cat,” I said, keeping my fingers crossed to ward it off. “High black cat.”

6

We went by the pawnshop on Ashland after that because I wanted to see my traps. They’d been sitting in the window a week before and now they weren'’t and I wondered who the heck had bought them and what madman was playing them right now. We were standing outside the Friendly Pawn— Clovis, Seamus, and me—and my traps, the greatest drums in the world, were gone.

7

We cruised downtown next. Clovis had two joints and we smoked one up at Harbor Point where Randolph rises above the rest of the city. Up there stand three or four high-class apartment buildings that stare out over the entire lakefront. I let the radio play and it was an old Count Basie side on then, “Dark Rapture,” and I was getting stoned. Then Seamus sat up quick and said, “I’m going to go try and call my wife,” and he hopped out of the automobile and was gone just like that. It was his trademark disappearing act. You might be at a nightclub or in a taxi, and he’d mumble something about calling his wife and then disappear, but there’d always be enough money in the spot where he had been sitting to cover his tab.

“He’'s got a screw loose, that one,” I said.

“Too many uppercuts to the head,” Clovis said. He searched around and lit the second joint. I laid back and I kept thinking about those Slingerland traps and who was playing them, and just then I realized it. Christ Jesus, I was late again.

We hit the Blue Note after that because I was supposed to sub for a trap player. When I showed up they said I had fouled up and the band had to call someone else and the baritone player said some comment like, “Jimmy Rabbit? I thought he was dead. Whiz-bang, baby, maybe you’d be better off if you did,” and I said, “Fuck you, my man,” and he said, “No, fuck you, my man,” and because of that situation, I lost about thirty bucks.

At the last minute, the alto reed player, a kid named Bobby Lincoln, a white kid who was straight as an ace on the alto sax, said he’d rather have me playing than the fellah they had called in. The fellah they called in looked like his mother had just dropped him off, and the way he was sweating and shaking, his face white as a ghost and him being black to boot, was a bad sign for everybody. By then it was 10:00 and they were scheduled to start on the hour and so it was on. I got up behind this very slick set of white Pearls and let them all have it. The first song I played was for the baritone player and it was a slow Earl “Fatha” Hines tune and I held it all in, right on time, waiting for my chance, etc., etc. The second song came and I was on and it was for the organ man who had said what he had said to me, and it was “Now’s the Time” by Charlie Parker and my drums were saying, “You can fuck off, my man, you fucking wannabe, dig this show I’m laying down and I know it’s good because it’s making your tencent organ solo sound like a million bucks. ”