Short Fiction Contest-winning story #34: “Alto Saxophone,” by Joe DiBuduo

November 19th, 2013

New Short Fiction Award

Three times a year, we award a writer who submits, in our opinion, the best original,
previously unpublished work.

Joe DiBuduo of Prescott Valley, Arizona is the winner of the 34th Jerry Jazz Musician
New Short Fiction Award, announced and published for the first time on November 18, 2013. His story “Night Café” won Short Fiction Contest #31.

 

 

Joe DiBuduo

*

Joe DiBuduo began writing classes after retiring at the age of 66. In the seven years since then he has earned a certificate in creative writing and has had many stories and poems published online. He also has four or more stories published in print anthologies. He has published one nonfiction book, A Penis Manologue, two journals of poetry, and six flash fiction collections. All are available on Amazon.

_____

 

Alto Saxophone

by

Joe DiBuduo

*

In a little town in Illinois, in a bar near the Wisconsin border, one man blew honey-dripping sounds from his saxophone. A woman’s body swayed in time with the sweetness emitting from that horn. She kept time with the beat and moved like melodic notes going up and down the scale. I imagined blowing musical sounds into her ear.

I crossed the wooden dance floor where she whirled, grabbed her hand and began to spin. Like musical notes, one black, one white, we danced all night. I softly sang into her ear, “Imagine how we’d dance in bed.”

She laughed in a low contralto voice, and changed it to a soprano when the high notes flowed.

Later when we were in bed and music played on her expensive speakers we continued our sensuous dance. Things couldn’t have been any better until I got knocked out cold.

When I came around I could hardly open my eyes and my head hurt so bad I thought it would explode. Music played, but it was different now. Chanting came from the speakers in a language that I thought was Creole. I smelled incense burning. My eyes began to focus about the time I realized I was tied spread eagle to her bed wearing nothing at all.

Then I saw the black man from the bar playing his saxophone, filling the room with mellow and foreboding music, as he and six black women danced in a circle around my bed. The women accompanying him chanted to mystifying sounds emanating from the speakers.

Addressing the lady I had danced with, I croaked, “Brown Sugar,” but I couldn’t speak loud enough to be heard over the chanting. God, I’d give anything for a dozen aspirins to relieve the headache from the blow and all the noise. What the hell was going on?

Brown Sugar pulled back a curtain exposing an altar that stood on four black marble pedestals, topped with an oblong piece of the same black marble. A large crucifix with Jesus on it turned upside down sat on top.

I’ve been captured by Satanists. What were they going to do to me? I struggled to free myself, but the ropes holding me were tied tight. I couldn’t move. Maybe they were only going to do a ceremonial ritual, and would set me free when it was over.

The sax player stood to one side of the altar and his instrument emitted a gruesome sound I never imagined a horn could make.

Brown Sugar wore a blood red robe, and stood in front of the altar. She raised her voice and said,

I hereby invoke the Prince of Darkness,

The great Dragon of the bottomless pit

           Who is the Bringer of Light

           And Lord of the Earth.

           Hear me, o mighty God of Hell!

           Come forth from the black Abyss,”

 

The chanting and music drowned out most of her prayer, but I did hear her conclusion,

           “My Lord and Master, come forth from Hell

           And greet me as your servant and friend.

           Join me as I conduct this service in your honor

           Out of love and thankfulness for you.

           Amen!

 

She turned with her arms raised and for the first time I saw the gleaming, jeweled dagger that she held with two hands. Her eyes lit with passion as she walked toward me, followed by the others who continued with their chanting.

I had been taught that goodness always overcomes evil, so I prayed, “Saint Michael the Archangel, defend me, be my protection against these wicked people and the Devil.”

A bright light filled the room. A man dressed in flowing white robes and wielding a shining sword appeared in front of the altar. One swipe of his sword severed the marble base. The altar crumbled to the floor, but not before he grabbed the crucifix, held it in front of him right side up and advanced toward the Satanists. The sax hit the floor as the man playing it ran out the door and all the others followed with screams of fear.

I waited for him to release me, but he set his sword and the crucifix on a table, picked up the saxophone thrown onto the floor, put it to his lips and started to blow. I expected to hear heavenly music from the lips of an angel. Instead, the piercing notes that rolled out made me shrivel up inside.

A brighter light almost blinded me. A man dressed in regal red robes appeared in the center of the room. He too carried a saxophone. He stood in front of Saint Michael and said, “I’ll challenge you to a duel.” He pointed at me. “Whoever plays the best gets to keep his soul.”

The man in red must be the Devil if he wanted to gamble for my soul. “Don’t do it,” I yelled to Saint Michael. “I know you want to save me, but I heard you play.”

“Ye of little faith, don’t you know if God wants your soul, I’ll play better than Satan?”

I didn’t have an answer for that. The Devil strode triumphantly around the room, bowed to Saint Michael and to me before he began to play. The sounds that came from his saxophone warmed my soul. I traveled through the beautiful universe on waves of heavenly music, until from the pleasurable sound, I began to cry. He finished and pointed to Saint Michael and said, “Your turn.”

Saint Michael began to play. I didn’t think that any music could top what Satan had played, but because it would be heaven sent, I expected it to be far superior. I prayed it would be anyway. Saint Michael fidgeted and fussed, put the sax to his lips, took a breath and blew into his instrument. The shrieking sound that came out sounded like it must have come straight from hell.

I knew then whose music I’d be hearing for eternity.

 

Share this:

Comment on this article:

Your email address will not be published. Required fields are marked *

In This Issue

"Nina" by Marsha Hammel
A Collection of Jazz Poetry — Winter, 2024 Edition...One-third of the Winter, 2024 collection of jazz poetry is made up of poets who have only come to my attention since the publication of the Summer, 2023 collection. What this says about jazz music and jazz poetry – and this community – is that the connection between the two art forms is inspirational and enduring, and that poets are finding a place for their voice within the pages of this website. (Featuring the art of Marsha Hammel)

The Sunday Poem

The cover to Nina Simone's 1967 album "SIlk and Soul"
“Brown Girl” by Jerrice J. Baptiste

Click here to read previous editions of The Sunday Poem

Poetry

Proceeding From Behind: A collection of poems grounded in the rhythmic, relating to the remarkable, by Terrance Underwood...A relaxed, familiar comfort emerges from the poet Terrance Underwood’s language of intellectual acuity, wit, and space – a feeling similar to one gets while listening to Monk, or Jamal, or Miles. I have long wanted to share his gifts as a poet on an expanded platform, and this 33-poem collection – woven among his audio readings, music he considers significant to his story, and brief personal comments – fulfills my desire to do so.

Publisher’s Notes

photo by Rhonda Dorsett
A very brief three-dot update…Where I’ve been, and an update on what is coming up on Jerry Jazz Musician

Poetry

Photographer uncredited, but the photo was almost certainly taken by Chuck Stewart. Published by ABC/Impulse! Records.. Public domain, via Wikimedia Commons
“And I’m Not Even Here” – a poem by Connie Johnson

Click here to read more poetry published on Jerry Jazz Musician

Essay

"Lester Leaps In" by Tad Richards
"Jazz and American Poetry," an essay by Tad Richards...In an essay that first appeared in the Greenwood Encyclopedia of American Poetry in 2005, Tad Richards - a prolific visual artist, poet, novelist, and nonfiction writer who has been active for over four decades – writes about the history of the connection of jazz and American poetry.

Interview

photo of Pepper Adams/courtesy of Pepper Adams Estate
Interview with Gary Carner, author of Pepper Adams: Saxophone Trailblazer...The author speaks with Bob Hecht about his book and his decades-long dedication to the genius of Pepper Adams, the stellar baritone saxophonist whose hard-swinging bebop style inspired many of the top-tier modern baritone players.

Click here to read more interviews published on Jerry Jazz Musician

Poetry

Three poets and Sketches of Spain

Trading Fours with Douglas Cole

The cover of Wayne Shorter's 2018 Blue Note album "Emanon"
Trading Fours, with Douglas Cole, No. 20: “Notes on Genius...This edition of the writer’s poetic interpretations of jazz recordings and film is written in response to the music of Wayne Shorter.

Click here to read previous editions of Trading Fours with Douglas Cole

Review

Jason Innocent, on “3”, Abdullah Ibrahim’s latest album... Album reviews are rarely published on Jerry Jazz Musician, but Jason Innocent’s experience with the pianist Abdullah Ibrahim’s new recording captures the essence of this artist’s creative brilliance.

Short Fiction

Christerajet, CC BY-SA 4.0, via Wikimedia Commons
Short Fiction Contest-winning story #64 — “The Old Casino” by J.B. Marlow...The author's award-winning story takes place over the course of a young man's life, looking at all the women he's loved and how the presence of a derelict building informs those relationships.

Click here to read more short fiction published on Jerry Jazz Musician

Book Excerpt

Book excerpt from Jazz with a Beat: Small Group Swing 1940 – 1960, by Tad Richards

Click here to read more book excerpts published on Jerry Jazz Musician

Poetry

"Jazz Trio" by Samuel Dixon
A collection of jazz haiku, Vol. 2...The 19 poets included in this collection effectively share their reverence for jazz music and its culture with passion and brevity.

Jazz History Quiz #171

Dick Cavett/via Wikimedia Commons
In addition to being one of the greatest musicians of his generation, this Ohio native was an activist, leading “Jazz and People’s Movement,” a group formed in the late 1960’s who “adopted the tactic of interrupting tapings and broadcasts of television and radio programs (i.e. the shows of Johnny Carson, Dick Cavett [pictured] and Merv Griffin) in protest of the small number of Black musicians employed by networks and recording studios.” Who was he?

Click here to visit the Jazz History Quiz archive

Community

photo via Picryl.com
.“Community Bookshelf, #2"...a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books. This edition includes information about books published within the last six months or so…

Contributing Writers

Click the image to view the writers, poets and artists whose work has been published on Jerry Jazz Musician, and find links to their work

Coming Soon

An interview with Tad Richards, author of Jazz With a Beat: Small Group Swing, 1940 - 1960;  an interview with Laura Flam and Emily Sieu Liebowitz, authors of But Will You Love Me Tomorrow? An Oral History of the 60's Girl Groups;  a new collection of jazz poetry; a collection of jazz haiku; a new Jazz History Quiz; short fiction; poetry; photography; interviews; playlists; and lots more in the works...

Interview Archive

Eubie Blake
Click to view the complete 22 year archive of Jerry Jazz Musician interviews, including those recently published with Richard Carlin and Ken Bloom on Eubie Blake (pictured); Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.

Site Archive