On the Road - Jack Kerouac [94]
Dean and I went over to talk to him. We invited him out to the car. In the car he suddenly yelled, “Yes! ain’t nothin I like better than good kicks! Where do we go?” Dean jumped up and down in the seat, giggling maniacally. “Later! later!” said the tenorman. “I’ll get my boy to drive us down to Jamson’s Nook, I got to sing. Man, I live to sing. Been singin ‘Close Your Eyes’ for two weeks—I don’t want to sing nothin else. What are the boys up to?” We told him we were going to New York in two days. “Lord, I ain’t never been there and they tell me it’s a real jumpin town but I ain’t got no cause complainin where I am. I’m married, you know.”
“Oh yes?” said Dean, lighting up. “And where is the darling tonight?”
“What do you mean?” said the tenorman, looking at him out of the corner of his eye. “I tole you I was married to her, didn’t I?”
“Oh yes, oh yes,” said Dean. “I was just asking. Maybe she has friends? or sisters? A ball, you know, I’m just looking for a ball.”
“Yah, what’s good’s a ball, life’s too sad to be ballin all the time,” said the tenorman, lowering his eye to the street. “Shh-eee- it!” he said. “I ain’t got no money and I don’t care tonight.”
We went back in for more. The girls were so disgusted with Dean and me for gunning off and jumping around that they had left and gone to Jamson’s Nook on foot; the car wouldn’t run anyway. We saw a horrible sight in the bar: a white hipster fairy had come in wearing a Hawaiian shirt and was asking the big drummer if he could sit in. The musicians looked at him suspiciously. “Do you blow?” He said he did, mincing. They looked at one another and said, “Yeah, yeah, that’s what the man does, shhh-ee-it!” So the fairy sat down at the tubs and they started the beat of a jump number and he began stroking the snares with soft goofy bop brushes, swaying his neck with that complacent Reichi analyzed ecstasy that doesn’t mean anything except too much tea and soft foods and goofy kicks on the cool order. But he didn’t care. He smiled joyously into space and kept the beat, though softly, with bop subtleties, a giggling, rippling background for big solid foghorn blues the boys were blowing, unaware of him. The big Negro bullneck drummer sat waiting for his turn. “What that man doing?” he said. “Play the music!” he said. “What in hell!” he said. “Shh-ee-eet!” and looked away disgusted.
The tenorman’s boy showed up; he was a little taut Negro with a great big Cadillac. We all jumped in. He hunched over the wheel and blew the car clear across Frisco without stopping once, seventy miles an hour, right through traffic and nobody even noticed him, he was so good. Dean was in ecstasies. “Dig this guy, man! dig the way he sits there and don’t move a bone and just balls that jack and can talk all night while he’s doing it, only thing is he doesn’t bother with talking, ah, man, the things, the things I could—I wish—oh, yes. Let’s go, let’s not stop—go now! Yes!” And the boy wound around a corner and bowled us right in front of Jamson’s Nook and was parked. A cab pulled up; out of it jumped a skinny, withered little Negro preacherman who threw a dollar at the cabby and yelled, “Blow!” and ran into the club and dashed right through the downstairs bar, yelling, “Blowblow blow!” and stumbled upstairs, almost falling on his face, and blew the door open and fell into the jazz-session room with his hands out to support him against anything he might fall on, and he fell right on Lampshade, who was working as a waiter in Jamson’s Nook that season, and the music was there blasting and blasting and he stood transfixed in the open door, screaming, “Blow for me, man, blow!” And the man was a little short Negro with an alto horn that Dean said obviously lived with his grandmother just like Tom Snark, slept all day and blew all night, and blew a hundred choruses before he was ready to jump for fair, and that