Magic Terror (29 page)

I no longer provide my life with a perpetual soundtrack (though my son, who has moved back in with us, does), in part because my income does not permit the purchase of a great many compact discs. (A friend presented me with a CD player on my forty-fifth birthday.) And these days, I’m as interested in classical music as in jazz. Of course, I never go to jazz clubs when I am home. Are there still people, apart from New Yorkers, who patronize jazz nightclubs in their own hometowns? The concept seems faintly retrograde, even somehow illicit. But when I am out on the road, living in airplanes and hotel rooms, I often check the jazz listings in the local papers to see if I can find some way to fill my evenings. Many of the legends of my youth are still out there, in most cases playing at least as well as before. Some months ago, while I was in San Francisco, I came across John Hawes’s name in this fashion. He was working in a club so close to my hotel that I could walk to it.

His appearance in any club at all was surprising. Hawes had ceased performing jazz in public years before. He had earned a great deal of fame (and undoubtedly, a great deal of money) writing film scores, and in the past decade he had begun to appear in swallowtail coat and white tie as a conductor of the standard classical repertoire. I believe he had a permanent post in some city like Seattle, or perhaps Salt Lake City. If he was spending a week playing jazz with a trio in San Francisco, it must have been for the sheer pleasure of it.

I turned up just before the beginning of the first set, and got a table toward the back of the club. Most of the tables were filled—Hawes’s celebrity had guaranteed him a good house. Only a few minutes after the announced time of the first set, Hawes emerged through a door at the front of the club and moved toward the piano, followed by his bassist and drummer. He looked like a more successful version of the younger man I had seen in New York, and the only indications of the extra years were his silver-gray hair, still abundant, and a little paunch. His playing, too, seemed essentially unchanged, but I could not hear it in the way I once had. He was still a good pianist—no doubt about that—but he seemed to be skating over the surface of the songs he played, using his wonderful technique and good time merely to decorate their melodies. It was the sort of playing that becomes less impressive the more attention you give it—if you were listening with half an ear, it probably sounded like Art Tatum. I wondered if John Hawes had always had this superficial streak in him, or if he had lost a certain necessary passion during his years away from jazz. Certainly he had not sounded superficial when I had heard him play with Hat.

Hawes, too, might have been thinking about his old employer, because in the first set he played “Love Walked In,” “Too Marvelous for Words,” and “Up Jumped Hat.” In the last of these, inner gears seemed to mesh, the rhythm simultaneously relaxed and intensified, and the music turned into real, not imitation, jazz. Hawes looked pleased with himself when he stood up from the piano bench, and half a dozen fans moved to greet him as he stepped off the bandstand. Most of them were carrying old records they wished him to sign.

A few minutes later, I saw Hawes standing by himself at the end of the bar, drinking what appeared to be club soda, in proximity to his musicians but not actually speaking with them. Wondering if his allusions to Hat had been deliberate, I left my table and walked toward the bar. Hawes watched me approach out of the side of his eye, neither encouraging nor discouraging me. When I introduced myself, he smiled nicely and shook my hand and waited for whatever I wanted to say to him.

At first, I made some inane comment about the difference between playing in clubs and conducting in concert halls, and he replied with the noncommital and equally banal agreement that yes, the two experiences were very different.

Then I told him that I had seen him play with Hat all those years ago in New York, and he turned to me with genuine pleasure in his face. “Did you? At that little club on St. Mark’s Place? That sure was fun. I guess I must have been thinking about it, because I played some of those songs we used to do.”

“That was why I came over,” I said. “I guess that was one of the best musical experiences I ever had.”

“You and me both.” Hawes smiled to himself. “Sometimes, I just couldn’t believe what he was doing.”

“It showed,” I said.

“Well.” His eyes slid away from mine. “Great character. Completely otherworldly.”

“I saw some of that,” I said. “I did that interview with him that turns up now and then, the one in
Downbeat.
”

“Oh!” Hawes gave me his first genuinely interested look so far. “Well, that was him, all right.”

“Most of it was, anyhow.”

“You cheated?” Now he was looking even more interested.

“I had to make it understandable.”

“Oh, sure. You couldn’t put in all those ding-dings and bells and Bob Crosbys.” These had been elements of Hat’s private code. Hawes laughed at the memory. “When he wanted to play a blues in G, he’d lean over and say, ’G’s, please.’”

“Did you get to know him at all well, personally?” I asked, thinking that the answer must be that he had not—I didn’t think that anyone had ever really known Hat very well.

“Pretty well,” Hawes said. “A couple of times, around ’54 and ’55, he invited me home with him, to his parents’ house, I mean. We got to be friends on a Jazz at the Phil tour, and twice when we were in the South, he asked me if I wanted to eat some good home cooking.”

“You went to his hometown?”

He nodded. “His parents put me up. They were interesting people. Hat’s father, Red, was about the lightest black man I ever saw, and he could have passed for white anywhere, but I don’t suppose the thought ever occurred to him.”

“Was the family band still going?”

“No, to tell you the truth, I don’t think they were getting much work up toward the end of the forties. At the end, they were using a tenor player and a drummer from the high school band. And the church work got more and more demanding for Hat’s father.”

“His father was a deacon, or something like that?”

He raised his eyebrows. “No, Red was the Baptist minister. The reverend. He ran that church. I think he even started it.”

“Hat told me his father played piano in church, but . . .”

“The reverend would have made a hell of a blues piano player, if he’d ever left his day job.”

“There must have been another Baptist church in the neighborhood,” I said, thinking this the only explanation for the presence of two Baptist ministers. But why had Hat not mentioned that his own father, like Dee Sparks’s, had been a clergyman?

“Are you kidding? There was barely enough money in that place to keep one of them going.” He looked at his watch, nodded at me, and began to move closer to his sidemen.

“Could I ask you one more question?”

“I suppose so,” he said, almost impatiently.

“Did Hat strike you as superstitious?”

Hawes grinned. “Oh, he was superstitious, all right. He told me he never worked on Halloween—he didn’t even want to go out of his room on Halloween. That’s why he left the big band, you know. They were starting a tour on Halloween, and Hat refused to do it. He just quit.” He leaned toward me. “I’ll tell you another funny thing. I always had the feeling that Hat was terrified of his father—I thought he invited me to Hatchville with him so I could be some kind of buffer between him and his father. Never made any sense to me. Red was a big strong old guy, and I’m pretty sure a long time ago he used to mess around with the ladies, reverend or not, but I couldn’t ever figure out why Hat should be afraid of him. But whenever Red came into the room, Hat shut up. Funny, isn’t it?”

I must have looked very perplexed. “Hatchville?”

“Where they lived. Hatchville, Mississippi—not too far from Biloxi.”

“But he told me—”

“Hat never gave too many straight answers,” Hawes said. “And he didn’t let the facts get in the way of a good story. When you come to think of it, why should he? He was
Hat.
”

After the next set, I walked back uphill to my hotel, wondering again about the long story Hat had told me. Had there been any truth in it at all?

2

Three weeks later I found myself released from a meeting at our midwestern headquarters in downtown Chicago earlier than I had expected, and instead of going to a bar with the other wandering corporate ghosts like myself, I made up a story about dinner with visiting relatives. I didn’t want to admit to my fellow employees, committed like all male businesspeople to aggressive endeavors such as raquetball, drinking, and the pursuit of women, that I intended to visit the library. Short of a trip to Mississippi, a good periodical room offered the most likely means of finding out once and for all how much truth had been in what Hat had told me.

I hadn’t forgotten everything I had learned at Columbia—I still knew how to look things up.

In the main library, a boy set me up with a monitor and spools of microfilm representing the complete contents of the daily newspapers from Biloxi and Hatchville, Mississippi, for Hat’s tenth and eleventh years. That made three papers, two for Biloxi and one for Hatchville, but all I had to examine were the issues dating from the end of October through the middle of November—I was looking for references to Eddie Grimes, Eleanore Monday, Mary Randolph, Abbey Montgomery, Hat’s family, The Backs, and anyone named Sparks.

The Hatchville
Blade
, a gossipy daily, offered plenty of references to each of these names and places, and the papers from Biloxi contained nearly as many—Biloxi could not conceal the delight, disguised as horror, aroused in its collective soul by the unimaginable events taking place in the smaller, supposedly respectable town ten miles west. Biloxi was riveted, Biloxi was superior, Biloxi was virtually intoxicated with dread and outrage. In Hatchville, the press maintained a persistent optimistic dignity: when wickedness had appeared, justice official and unofficial had dealt with it. Hatchville was shocked but proud (or at least pretended to be proud), and Biloxi all but preened. The
Blade
printed detailed news stories, but the Biloxi papers suggested implications not allowed by Hatchville’s version of events. I needed Hatchville to confirm or question Hat’s story, but Biloxi gave me at least the beginning of a way to understand it.

A black ex-convict named Edward Grimes had in some fashion persuaded or coerced Eleanore Monday, a retarded young white woman, to accompany him to an area variously described as “a long-standing local disgrace” (the
Blade
) and “a haunt of deepest vice” (Biloxi) and, after “the perpetration of the most offensive and brutal deeds upon her person” (the
Blade
) or “acts that the judicious commentator must decline to imagine, much less describe” (Biloxi), murdered her, presumably to ensure her silence, and then buried the body near the “squalid dwelling” where he made and sold illegal liquor. State and local police departments acting in concert had located the body, identified Grimes as the fiend, and, after a search of his house, had tracked him to a warehouse, where the murderer was killed in a gun battle. The
Blade
covered half its front page with a photograph of a gaping double door and a bloodstained wall. All Mississippi, both Hatchville and Biloxi declared, could now breathe more easily.

The
Blade
gave the death of Mary Randolph a single paragraph on its back page, the Biloxi papers nothing.

In Hatchville, the raid on The Backs was described as a heroic assault on a dangerous criminal encampment that had somehow come to flourish in a little-noticed section of the countryside. At great risk to themselves, anonymous citizens of Hatchville had descended like the army of the righteous and driven forth the hidden sinners from their dens. Troublemakers, beware! The Biloxi papers, while seeming to endorse the action in Hatchville, took another tone altogether. Can it be, they asked, that the Hatchville police had never before noticed the existence of a Sodom and Gomorrah so close to the town line? Did it take the savage murder of a helpless woman to bring it to their attention? Of course Biloxi celebrated the destruction of The Backs—such vileness must be eradicated—but it wondered what else had been destroyed along with the stills and the mean buildings where loose women had plied their trade. Men ever are men, and those who have succumbed to temptation may wish to remove from the face of the earth any evidence of their lapses. Had not the police of Hatchville ever heard the rumor, vague and doubtless baseless, that operations of an illegal nature had been performed in the selfsame Backs? That in

an atmosphere of drugs, intoxication, and gambling, the races had mingled there and that “fast” young women had risked life and honor in search of illicit thrills? Hatchville may have rid itself of a few buildings, but Biloxi was willing to suggest that the problems of its smaller neighbor might not have disappeared with them.

As this campaign of innuendo went on in Biloxi, the
Blade
blandly reported the ongoing events of any smaller American city. Miss Abigail Montgomery sailed with her aunt, Miss Lucinda Bright, from New Orleans to France for an eight-week tour of the Continent. The Reverend Jasper Sparks of the Miller’s Hill Presbyterian Church delivered a sermon on the subject of “Christian forgiveness.” (Just after Thanksgiving, the Reverend Sparks’s son, Rodney, was sent off with the blessings and congratulations of all Hatchville to a private academy in Charleston, South Carolina.) There were bake sales, church socials, and costume parties. A saxophone virtuoso named Albert Woodland demonstrated his astonishing wizardry at a well-attended recital presented in Temperance Hall.

Well, I knew the name of at least one person who had attended the recital. If Hat had chosen to disguise the name of his hometown, he had done so by substituting for it a name that represented another sort of home.

But, although I had more ideas about this than before, I still did not know exactly what Hat had seen or done on Halloween night in The Backs. It seemed possible that he had gone there with a white boy of his age, a preacher’s son like himself, and had the wits scared out of him by whatever had happened to Abbey Montgomery—and after that night, Abbey herself had been sent out of town, as had Dee Sparks. I couldn’t think that a man had murdered the young woman, leaving Mary Randolph to bring her back to life. Surely whatever had happened to Abbey Montgomery had brought Dr. Garland out to The Backs, and what he had witnessed or done there had sent him away screaming. And this event—what had befallen a rich young white woman in the shadiest, most criminal section of a Mississippi county—had led to the slaying of Eddie Grimes and the murder of Mary Randolph. Because they knew what had happened, they had to die.