“High Notes” — a short story by Shan Richardson

November 26th, 2018

 

 

“High Notes,” a story by Shan Richardson, was a finalist in our recently concluded 49th Short Fiction Contest.  It is published with the permission of the author.

 

*

 

 

 

 

 

 

High Notes

by Shan Richardson

 

I drifted off into the best sleep I’ve had in weeks. In months even. It’s been a while since I’ve been able to get into Fat Daddy’s as a regular. It’s the hottest – no, it’s the coolest jazz club there is. On any given night you’d find the club cradled with sweet melodies and rocked by spoken word poetry. And on Friday nights, you used to be able to catch us…

Thing is, my band and I got banned last year. But before then, we had lines out the door with folks wanting to hear us play. The whites, the blacks, the browns and those that fell in between because their parents had jungle fever. The attention can become quite addicting. There wasn’t any fortune though, it’s a small town.

Fast forward to now – a year later. I managed to befriend this big-bellied bouncer.

Last night, he sneaked me up to the attic in the middle of set change. And there I sat, crammed with memorabilia of everyone who’s ever played at Fat Daddy’s as of three years ago: Jerome Jeromi’s pink tie that proved to everyone ain’t nothing gay about a man in pink, the Bougie Boogie’s drum set with the missing cymbals that Tyla’s ex-boyfriend stole, and, the dust-covered trumpet from us, The High Notes. If our band had a mascot, the shiny, regal black and gold trumpet was definitely it. Hashtag Black Lives and Trumpets Matter.

I heard the next group warming up.

Dressed in different shades of black, and I’m talking about their complexion – they take the stage.

I shared my croissant with a few rats that also seem to enjoy Fat Daddy’s. I lighted my joint, listened to the scats and bops from the fair-skinned, freckled young thing named Letta Sai and there it was – high notes. I think I can blow better than her. But if I had to choose anyone to replace me it’d be Letta. She’s not playing tonight so I’ll be taking my French pastries, my lighter and Mary-Jane to an old bandmate’s house.

Music answered a lot of questions for me that people normally couldn’t. I remember my first boyfriend, Jack C. Turner. He was younger than me, but boy did he teach me a lot. Maybe it was his short stature or the three-year age difference – I didn’t start dating until I was 18 – but he was abusive. Told me he was going to treat me the way his daddy treated his ole girl and since they were married for 30 years they must’ve been doing something right. He would hit me but never on Saturdays, as it was his day of rest. I remember asking my Aunt Mattie what’s love. She told me “when he comes home every night.”  And Uncle Danny always came home, whether he was drunk, high, happy or mad – he came home. It wasn’t until I heard Auntie Aretha singing about respect one day that I finally had the courage to tell Jack, after his last hit, to “hit the road” himself.

Now my love of doobie, ganja, dank or whatever name you call it is more complicated but also tied up into music. I’ll get there but first I got to get to my bandmate’s place. She tells me she knows how we can start playing at Fat Daddy’s again. I ring the doorbell to Cindy’s house. It’s her parents’ home and I’ve been instructed to go through the back where she is, but they never cut the grass. Besides, back doors are for side chicks and late-night sneak outs.

Cindy answers.

“So, I’ve been thinkin’,” she says as she takes a puff and lets out more smoke than a blown gasket on a ’99 Chevy Impala.

“I’ve been thinkin’ on how we can start playin’ at Fat Daddy’s again… but I forgot…”

It was those two words we found ourselves saying more and more to everyone.

“Did we order that reed for the saxophone?”

“I forgot.”

“Are you going to be able to make it to rehearsals?”

“…I forgot.”

“What day are we playing this week?”

“I forgot.”

Cindy reaches for her trumpet; it’s as if she moves in slow motion. She blows into it but stops to catch her breath. She used to be able to hit these really high notes on the flute and trumpet. Once I added my voice – it was a sound more satisfying than a virgins’ moans. The music, the crowd, the applause. It was all a high. She plays a familiar tune.

It takes me back to the night of my 28th  birthday. We finally landed the main act.

     “Performing Live: High Notes” it read on the marquee.

I was on the mic. Cindy on the trumpet. Isaac on the drums. And P.T switched between a harmonica and saxophone. After we got banned, they left and started their own group. If Cindy can ever remember the plan to play at Fat Daddy’s again we would have to find two more people for the band. But right now, Cindy’s no help.

I copped a few grams from her. She says it’s an early birthday gift to me. I turn 29 tomorrow.

Music and weed have a lot in common. For me at least. Rather I’m listening to the jazz version of Summer Madness or laying under the dark night sky with my joint, they both seduce me into a calming trance where everything is alright. It seemed rather obvious to combine what I love to hear with what I love to feel. High Notes.

I walk past the club on my way home. I turn back to pay Daddy a visit. Rumor is he fathered half of 15th street, and that’s why they call him “Daddy.”  Some say he just looks out for everyone like a dad. The “fat” part is still a mystery I stopped trying to figure out.

“Is Daddy here?” I ask a waitress.

“No.” she answers.

I leave. I know she’s lying. His truck is outside and it’s rehearsal time. Daddy never misses a rehearsal. But, if Daddy didn’t want to hear me out, he was going to have to hear me in. I hurried back to Cindy, even went through the back door as I assumed her parents were back and told her my plan. She agrees.

Tonight, me and Cindy are going to gather on the corner near Fat Daddy’s and play like its Friday. There’s a little amplifier I have from when I used to sing on the corner for money, before we landed the club. It’s pretty loud. Daddy will hear it and he’ll come right out. He hates competition.

My closet was a mess but I already knew what I wanted to wear. My flowy yellow dress that hid enough body but showed enough curves would do the trick. I had to keep my makeup light – you could easily work up a sweat singing outside. If this goes right and we can get enough attention maybe we can play at the club again.

When we were in our prime, we were bringing in thousands of dollars every night. Our last night playing, I was way in the clouds. Cindy wasn’t even there, but it didn’t matter. We knew the time was coming. After one song, Daddy told us not to come back. Ever.

Back to Cindy’s house I go, through the back, with the amplifier and mic in my hand. It’s twenty minutes to showtime. I scheduled everything so we’d be playing at the same time as the opening act. Two knocks to the door with no answer and I decide to call Cindy. No answer. We never discussed where to meet. She may already be by the club, waiting.

It’s ten minutes to showtime. I’m the first to the corner. Cindy calls.

“Hey, you called me?”

“Where are you?” I inquire, knowing the unfortunate truth.

“Home, why?”

“We’re supposed to be playing outside Fat Daddy’s…”

“Oh, that was tonight. I forgot.”

Kind of like it came back full circle. This must have been how Daddy felt dealing with us.

I look too good to just go home but my big-bellied bouncer friend isn’t at the door so it doesn’t look like I’ll be getting into the club. There’s a line wrapped around. It’s longer than I can ever recall. Young couples, businessmen in their business suits and parents happy to get a night out from the kids all stand waiting to get in. I wonder if I can sneak in with the gentleman standing by himself. I can’t. His girlfriend just walked up.

Back home I go with my Mary and a whole playlist of songs I need to learn. I’m planning on singing them whenever we can play at Fat Daddy’s again. I’m still boggled at the long line around Fat Daddy’s, so I ask the group of co-ed friends what’s going on tonight.

“It’s his last night in business,” says one girl.

“And, he’s keeping the show going all night long,” says another.

“Do you want to skip?” asked this clean-shaven guy. He stood there drenched in cologne that made him smell older than he looked.

I decline and walk past the marquee reading:

     “Last Night in Business: Open Until 4am.”

 

__________

 

 

 

Shan Richardson is a 26-year Florida native. Her introduction to writing began at the age of nine when she started writing poetry. She went on to write screenplays and short films while in college. She recently graduated from UCLA School of Theatre Film and Television’s writing program. In addition to writing, in her spare time, Shanice enjoys filming short comedic videos.

Share this:

Comment on this article:

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

Site Archive

Your Support is Appreciated

Jerry Jazz Musician has been commercial-free since its inception in 1999. Your generous donation helps it remain that way. Thanks very much for your kind consideration.

Publisher’s Notes

Creatives – “This is our time!“…A Letter from the Publisher...A call to action to take on political turmoil through the use of our creativity as a way to help our fellow citizens “pierce the mundane to find the marvelous.”

In This Issue

Announcing the book publication of Kinds of Cool: An Interactive Collection of Jazz Poetry...The first Jerry Jazz Musician poetry anthology published in book form includes 90 poems by 47 poets from all over the world, and features the brilliant artwork of Marsha Hammel and a foreword by Jack Kerouac’s musical collaborator David Amram. The collection is “interactive” (and quite unique) because it invites readers – through the use of QR codes printed on many of the book’s pages – to link to selected readings by the poets themselves, as well as to historic audio and video recordings (via YouTube) relevant to many of the poems, offering a holistic experience with the culture of jazz.

Interview

photo Louis Armstrong House Museum
Interview with Ricky Riccardi, author of Stomp Off, Let’s Go: The Early Years of Louis Armstrong...The author discusses the third volume of his trilogy, which includes the formation of the Armstrong-led ensembles known as the Hot Five and Hot Seven that modernized music, the way artists play it, and how audiences interact with it and respond to it.

The Sunday Poem


“The Köln Concert,” by Martin Agee


The Sunday Poem is published weekly, and strives to include the poet reading their work....

Martin Agee reads his poem at its conclusion


Click here to read previous editions of The Sunday Poem

Feature

“What one song best represents your expectations for 2025?” Readers respond...When asked to name the song that best represents their expectations for 2025, respondents often cited songs of protest and of the civil rights era, but so were songs of optimism and appreciation, including Bob Thiele and George David Weiss’ composition “What a Wonderful World,” made famous by Louis Armstrong, who first performed it live in 1959. The result is a fascinating and extensive outlook on the upcoming year.

Poetry

Sax in a Blue Suit by Samuel Dixon
21 jazz poems on the 21st of March, 2025...An ongoing series designed to share the quality of jazz poetry continuously submitted to Jerry Jazz Musician by poets sharing their relationship to the music, and with the musicians who perform it.

Interview

photo by Brian McMillen
Interview with Phillip Freeman, author of In the Brewing Luminous: The Life and Music of Cecil Taylor...The author discusses Cecil Taylor – the most eminent free jazz musician of his era, whose music marked the farthest boundary of avant-garde jazz.

Feature

photo of Rudy Van Gelder via Blue Note Records
“Rudy Van Gelder: Jazz Music’s Recording Angel” – by Joel Lewis...For over 60 years, the legendary recording engineer Rudy Van Gelder devoted himself to the language of sound. And although he recorded everything from glee clubs to classical music, he was best known for recording jazz – specifically the musicians associated with Blue Note and Prestige records. Joel Lewis writes about his impact on the sound of jazz, and what has become of his Englewood Cliffs, New Jersey studio.

Poetry

photo of Charlie Parker by William Gottlieb/Library of Congress; Design by Rhonda R. Dorsett
Jerrice J. Baptiste’s 2025 Jazz Poetry Calendar...Jerrice J. Baptiste’s 12-month 2025 calendar of jazz poetry winds through the upcoming year with her poetic grace while inviting us to wander through music by the likes of Hoagy Carmichael, Antonio Carlos Jobim, Sarah Vaughan, Melody Gardot and Charlie Parker.

Playlist

“Sextets: The Joy of Six” – a playlist by Bob Hecht...The cover of the 1960 debut album by the Jazztet, co-founded by the trumpeter Art Farmer and the tenor saxophonist Benny Golson, and which always featured a trombonist and a piano-bass-drums rhythm section. Golson wrote much of the music, but “Hi-Fly” – a tune featured on Bob Hecht’s two-hour playlist devoted to sextets – was written by pianist Randy Weston, and appears on the 1960 album Big City Sounds.

Interview

Interview with Jonathon Grasse: author of Jazz Revolutionary: The Life and Music of Eric Dolphy....The multi-instrumentalist Eric Dolphy was a pioneer of avant-garde technique. His life cut short in 1964 at the age of 36, his brilliant career touched fellow musical artists, critics, and fans through his innovative work as a composer, sideman and bandleader. Jonathon Grasse’s Jazz Revolutionary is a significant exploration of Dolphy’s historic recorded works, and reminds readers of the complexity of his biography along the way. Grasse discusses his book in a December, 2024 interview.

Feature

Dmitry Rozhkov, CC BY-SA 4.0 via Wikimedia Commons
“Thoughts on Matthew Shipp’s Improvisational Style” – an essay by Jim Feast..Short of all the musicians being mind readers, what accounts for free jazz musicians’ – in this instance those playing with the pianist Matthew Shipp – incredible ability for mutual attunement as they play?

Art

Photo of Joe Lovano by Giovanni Piesco
The Photographs of Giovanni Piesco: Joe Lovano...Beginning in 1990, the noted photographer Giovanni Piesco began taking backstage photographs of many of the great musicians who played in Amsterdam’s Bimhuis, that city’s main jazz venue which is considered one of the finest in the world. Jerry Jazz Musician will occasionally publish portraits of jazz musicians that Giovanni has taken over the years. This edition features 1999 photographs of the saxophonist Joe Lovano.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 11: “Chick” and “Hen” Lit...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this 11th edition, Rife writes about the “chicks” (energetic women, attractive, and open to experience) and “hens” (older women who have either buried or lost a loved one, and who seem content with their lives) who are at the center of stories with jazz within its theme.

Interview

photo by Carl Van Vechten, Library of Congress
A Black History Month Profile: The legendary author Richard Wright...In a 2002 Jerry Jazz Musician interview, Richard Wright biographer Hazel Rowley discusses the life and times of legendary author Richard Wright, whose work included the novels Native Son andBlack Boy

Feature

On the Turntable — The “Best Of the ‘Best Of’” in 2024 jazz recordings...Our annual year-end compilation of jazz albums oft mentioned by a wide range of critics as being the best of 2024

In Memoriam

photo via Pexels.com
“Departures to the Final Arms Hotel in 2024” – poetic tributes, by Terrance Underwood...2024 produced its share of losses of legendary jazz musicians. Terrance Underwood pays poetic homage to a handful who have touched his life, imagining their admittance to the Final Arms Hotel, a destination he introduces in his prelude.

Community

Stewart Butterfield, CC BY 2.0, via Wikimedia Commons
Community Bookshelf #4...“Community Bookshelf” is a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books and/or recordings. This edition includes information about books published within the last six months or so (September, 2024 – March, 2025)

Feature

Trading Fours, with Douglas Cole, No. 23: “The Wave”...In this edition of an occasional series of the writer’s poetic interpretations of jazz recordings and film, Douglas’ poem is written partly as a reference to the Antonio Carlos Jobin song “Wave,” but mostly to get in the famed Japanese artist Hokusai’s idea of the wave as being a huge, threatening thing. (The poem initially sprang from listening to Cal Tjader’s “Along Came Mary”).

Short Fiction

Stan Shebs, CC BY-SA 3.0 , via Wikimedia Commons/blur effect added
Short Fiction Contest-winning story #67 — “Bluesette,” by Salvatore Difalco...The author’s award-winning story is a semi-satirical mood piece about a heartbroken man in Europe listening to a recording by the harmonica player Toots Thielemans while under the influence of a mind-altering substance.

Interview

Interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lost Empire of Cool...The esteemed writer tells a vibrant story about the jazz world before, during, and after the 1959 recording of Kind of Blue, and how the album’s three genius musicians came together, played together, and grew together (and often apart) throughout the experience.

Feature

photo of Lester Young by William Gottlieb/Library of Congress
Jazz History Quiz #179...Throughout his career, this saxophonist was known as the “Vice Prez” because he sounded so similar to “Prez,” Lester Young (pictured). Who was he?

Community

Nominations for the Pushcart Prize XLIX...Announcing the six writers nominated for the Pushcart Prize v. XLIX, whose work was published in Jerry Jazz Musician during 2024.

Publisher’s Notes

photo by Rhonda Dorsett
On turning 70, and contemplating the future of Jerry Jazz Musician...

Feature

“Are Jazz-Hop Instrumentals Jazz?” – an observation (and playlist) by Anthony David Vernon...Google “what is jazz-hop?” and the AI overview describes it is “a subgenre of hip-hop that combines jazz and hip-hop music. It developed in the late 1980s and early 1990s.” In Mr. Vernon’s observation, he makes the case that it is also a subgenre of jazz.

Community

Notes on Bob Hecht’s book, Stolen Moments: A Photographer’s Personal Journey...Some thoughts on a new book of photography by frequent Jerry Jazz Musician contributing writer Bob Hecht

Art

“The Jazz Dive” – the art of Allen Mezquida...The artist's work is inspired by the counterculture music from the 1950s and 60s, resulting in art “that resonates with both eyes and ears.” It is unique and creative and worth a look…

True Jazz Stories

Columbia Records; via Wikimedia Commons
“An Evening with Michael Bloomfield” – a true blues story by David Eugene Everard...The author recounts his experience meeting and interviewing the great blues guitarist Mike Bloomfield in 1974…

Short Fiction

photo via PxHere
“The Magic” – a story by Mark Bruce...Most bands know how to make music. They learn to play together so that it sounds good and maybe even get some gigs. Most bands know that you have your chord progressions and your 4/4 beat and your verses and bridges. Some bands even have a guy (or a woman, like Chrissy Hynde) who writes songs. So what gives some bands the leg up into the Top 40?

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 Sascha Feinstein, author of Writing Jazz: Conversations with Critics and Biographers;, Also, a new Jazz History Quiz, and lots of short fiction; poetry; photography; interviews; playlists; and much more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; 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.