IDEAS

July 20, 2019July 20, 2019 ~ Chris Green ~ Leave a comment

IDEAS by Chris Green

‘I’m telling you,’ says Flavia. ‘The guy was a complete stranger. He just walked up to me and handed me the bag.’

‘And you didn’t think to say what are you doing or who are you or anything like that,’ says Matt.

‘There wasn’t time. It all happened very quickly,’ says Flavia. ‘Besides I was taken completely off guard.’

‘And he just disappeared into the crowd.’

‘Well, yes. That’s exactly what happened. Look! It was busy. There were a lot of people around. People were coming out of the cinema. People were waiting for the 61 bus. And there were a large group of passers-by watching a street musician with a trumpet. He was very good. If you hadn’t gone into that games shop you would have seen how quickly it all happened. You could have done something about it.’

‘So you were distracted. That’s what you are saying.’

‘That’s right, Matt. You know I like jazz. And this is free jazz.’

‘And the fellow that gave you the bag was about average height, average build and was wearing blue or grey.’

‘That’s right. Even his balaclava was blue, or grey. Can you get off my case, please! Who do you think you are? Inspector Wallander or someone?’

‘You do realise what this is, don’t you?’ says Matt.

‘But there’s nothing in it. I’ve looked. The bag is empty.’

‘I know that is how it looks. But, does it feel empty?’ says Matt, handing her back the blue Ikea bag. ‘Here! Feel it. It’s very heavy.’

‘You’re right. It is heavy.’

‘There is something in there. Feel inside it.’

‘It got a shape. ….. But …. but it’s invisible. What is it?’

‘It’s an enigma. That’s what it is.’

‘What? One of those machines the Germans used in the war?’

‘Not exactly. But you might be on the right lines.’

‘Well, if that’s the case someone’s going to want it. Someone’s going to be looking for it. Someone’s going to be looking for us,’ says Flavia.

………………………………………………………………….…

Flavia is right. Someone is looking for it. Casey Boss is looking for it. His department is extremely security conscious. They need to be. There is a lot at stake. How could the courier have been robbed like that? From his van. In broad daylight. Who were these cowboy logistics people? Weren’t there supposed to be two people on board when they transported sensitive cargoes? And how did the thieves get it into the Ikea bag?

Casey Boss has the van driver in his eleventh-floor office overlooking the river. He is trying hard to stay calm. He was recently hospitalised. Dr De’Ath warned him he must avoid stress. Losing his temper again will send his blood pressure through the roof. He is on powerful beta-blockers.

‘You do realise the gravity of the situation,’ Boss says, swilling a couple of extra Propranolol down with a glass of water. ‘You understand that we have just lost something ………. important.’

Zbigniew Wozniak has some difficulty in following him. There are several big words there. English is not even his second language. His job as he sees it is to get things from A to B. Even this can be a challenge sometimes. He has difficulty with some of the road signs. How was he to know that it wasn’t a real diversion sign? The next part of the scam was, however. easier for Wozniak to understand.

‘Man’s face is covered,’ he says. ‘He says gun if I don’t give him.’

‘Where did covered man go?’ says Casey Boss, finding himself reduced to Wozniak’s pigeon English in order to communicate.

‘Have big black car,’ says Wozniak. ‘Drive fast.’

………………………………………………………………….…

‘It’s a pity that you hit that car, George’ says Mavis Deacon. ‘Look at the time. We are going to be late for indoor bowls. And you know it was our turn to make the tea.’

‘I know, dear, but there’s nothing we can do about it now.’

‘Black ones are definitely harder to see, aren’t they? I think the last one you ran into was black.’

‘It was the other fellow’s fault though, dear. He did pull out in front of me.’

‘That man certainly didn’t want to hang around to give you his insurance details, did he? Running off like that. Why do you think, he was in such a hurry?’

‘I don’t know. Perhaps he had to get that bag to the shops quickly. It was one of those bags, wasn’t it?’

‘I think it was an Ikea bag, George? Perhaps we could go to Ikea sometime. They do some very nice kitchenware.’

‘Yes. I believe it was Ikea, Mavis. And we will go one day. If we can find it. Anyway, I expect the police will be along in a minute. They will be able to sort things out. His car did take a bit of a knock though, didn’t it? They don’t make them like they used to.’

‘Why do you think he was wearing a balaclava though, George? That seemed to me to be a little odd. Especially if he was going to the shops. The security people in the shops might think that he was a criminal with a gun, who was going to rob them.’

‘I’m sure there’s a rational explanation dear. And anyway he’s bound to be on CCTV cameras somewhere.’

………………………………………………………………….…

Matt and Flavia are in Café Baba, a small establishment run by a Moroccan family down a discreet alleyway, away from the main shopping centre. They have gone there to get away from the hubbub while they take stock of their situation. Matt is feeling inside the bag. What can possibly account for its weight?

‘I think it might be changing shape,’ he says.

‘You mean like it’s alive?’ says Flavia, nervously.

‘Kind of. …… Not exactly. …… I don’t know. Have a feel.’

‘No, thankyou! I’ll take your word for it,’ says Flavia, with a grimace. ‘Look Matt! Enough is enough. We’ve got to get rid of it.’

‘What do you suggest we do with it then?’ says Matt. ‘We can hardly go to the police with it can we?’

‘Can we not? Why’s that?’

‘Don’t you think they might find us a little suspicious, handing in a blue Ikea bag with an invisible object inside. A heavy invisible object that keeps changing shape, no less. I really don’t think they Sergeant Rozzer would be likely to understand. A man handed it to my wife in the street. No, she hadn’t seen him before. No, we did not get a look at his face, he was wearing a balaclava. They would detain us as aliens or something. We would probably be locked up forever in a secure institution.’

‘We could just dump it.’

‘I suppose so, but that seems a bit irresponsible.’

‘Wait! Don’t you have a friend who is some sort of scientist, Matt?’

‘I don’t think so.’

‘The one with the multicoloured framed spectacles.’

‘Oh, you mean Theo. No. Theo’s a prosthodontist. That’s basically a dentist. I don’t think that’s quite the same.’

‘What about the one who works for MI5?’

‘Oh, Hank. You’re talking about G4S, not MI5. Hank works for G4S. Used to be called Group 4. He’s a night security guard at a building site.’

‘Well. Perhaps you could come up with a suggestion, but we’re not taking it home.’

………………………………………………………………….…

Casey Boss is conscious that he has an emergency on his hands. He must not let the situation escalate. There is no telling what harm could be done. He leaps into action. He quickly puts a number of his people on the streets to requisition CCTV footage from cameras over a distance of several square miles. Freeman and Willis send him film of the crash at the Cross Hands crossroads. He plays the footage. The white Skoda ploughs into the side of the black BMW. A hooded gunman gets out of the Beamer and runs from the scene. An old couple slowly emerge from the Skoda.

‘Doddery old farts like that shouldn’t be allowed on the roads,’ he says to his colleague, Jagger. ‘Look at him he’s about eighty. He’s got a white stick. He’s probably blind.’

The gunman with the blue Ikea bag heads in the direction of the shopping district. It is strange, Boss thinks, how little notice people seem to take. It is as if they are all too used to seeing armed men in balaclavas running through the streets with heavy Ikea bags.

Boss moves his focus to footage from a bank of sixty-four cameras located in the centre of town in the comms suite of the municipal building. He is able to witness the masked man’s progress through the town on several cameras, past BetFred and BetterBet, past the Hungarian supermarket, past the bank of posters advertising the Psychedelic Furs reunion concert, through the park where the street drinkers assemble, into the square, past the fountain of Poseidon and into the smarter part of town. He passes the 61 bus stop by John Lewis, but then it is not clear where he goes. He disappears into a crowd of people that are watching a weathered-looking jazz trumpeter with a hunched back in a black coat and black trilby hat. It is unusual for a street musician to draw such a crowd. Jazzman’s audience grows by the minute. With the movement of the crowd, it is difficult to see what is going on. There is no sighting of the masked man emerging from the melee.

Boss tells Jagger to put out the word to bring the jazz trumpeter in for questioning.

There are no further sightings. He hopes that as the day wears on there will be more on the CCTV footage to view. Other than that, there are bound to be witnesses. Some public-spirited citizen will have noticed a man wearing a balaclava weighed down an Ikea bag. Surely. Perhaps he went into a shop. Perhaps one of the local premises is a front for some clandestine operation. Perhaps a number of the shops are fronts for clandestine operations. A lot of ethnic traders have moved in lately. He instructs his team to question all the traders in the area, threaten them if necessary.

………………………………………………………………….…

Meanwhile, the jazz trumpeter too has disappeared. He has somehow avoided Boss’s men, who are now all over the west side of town. As it happens, with his gear packed into a makeshift box trolley, he is making his way to the Café Baba. He likes to relax here with a slice of orange and almond cake and a glass of mint tea, away from the afternoon crowds. Ahmed will usually have some mellow jazz playing. They might even have a bit of a jam later in the back.

Matt and Flavia are already there, discussing what to do with the bag. It is a quiet time of day at Café Baba and they are the only customers. The Gaggia machine is switched off. There is a faint smell of hashish. Behind the counter, Ahmed and his younger brother, Youssef are sharing a pipe. A tune by Mulatu Astatke’s Black Jesus Experience plays gently in the background. East African beats. This is free jazz. All about ideas, inspiration and improvisation.

Ahmed notices that there is a little tension at Matt and Flavia’s table. Their voices are raised. Perhaps its the food. Maybe they are not familiar with Moroccan delicacies. Perhaps the briouats or the kefta wraps are not to their liking. They do not seem to have touched them. He ambles over to their table to see what the problem might be. In his djellaba and babouche slippers, his movement is hushed, so Matt and Flavia do not hear his approach. They are facing the window. They appear to be in the middle of an argument.

‘I think we need to find out what it is,’ says Matt. ‘Before we make a decision.’

‘I want it as far away from me as possible,’ says Flavia. ‘It’s gross.’

‘Someone might offer a reward for its safe return.’

‘How do you even think of these things? Matt. Where do you get these ideas from? Sometimes I think you live in a parallel universe. It’s a bloody Ikea bag for God’s sake.’

‘But a mysterious Ikea bag.’

‘We’re getting rid of it.’

‘We could put in in a storage unit or a locker at the station until we find out more.’

‘It’s going.’

‘But Flavia …….’

‘Matt! Matt! Look!’ says Flavia, grabbing him by the arm. ‘I swear the bloody bag is breathing.’

Ahmed follows her gaze to the inlaid leg of the walnut table. The blue bag, he notices, does look as though it’s breathing, in fact, it appears to be edging its way across the mosaic floor tiles. It has moved several inches. He is about to remark on this, but at that moment, Chet appears at the door with his gear. Chet comes at about this time every day after he has played his pitches in the town. He is struggling a little today. He is not getting any younger. Ahmed goes over to help him with his cart.

………………………………………………………………….…

‘We’ve found him, boss,’ says Freeman.

‘Who?’ says Boss. ‘Speak up man!’

‘Sorry. It’s a poor signal. …… Is that better?’

‘What is it, Freeman?’

‘We’ve found Jazzman, sir. He has been caught on CCTV passing the horologist’s in the old town. He’s gone down one of those alleys, with some equipment. Willis thinks he might be heading for the Café Baba.’

‘Where?’

‘The Café Baba. It’s an African place.’

‘What’s the low down on it, Freeman?’

‘Could be a front for terrorist activity, possibly.’

‘What about the bag?’

‘He didn’t seem to have the bag, but perhaps it was packed away with his gear.’

‘Keep Jazzman there until I get there. Stay outside, for now, but keep a close eye. We’re not going to lose him again. …….. But I want to be the one to apprehend him. Bring the car round, Jagger!’

‘You asked me to remind you to take your tablets, sir.’

‘Quite, Jagger. Thank you. And let me have some of the others, the ones you got from your man, Zoot.’

………………………………………………………………….…

Matt and Flavia have put away their differences for the time being and realised that they are hungry. Perhaps it has something to do with Chet and Ahmed having sat themselves down at the next table. Chet and Ahmed are waiting for Youssef to bring the mint tea. They are listening to Miles Davis’s So What. It is a live version. Ahmed has turned the volume up a bit.

‘Jazz should be about breaking down conventions, experimenting,’ says Chet. He looks forward to these conversations. They affirm his dedication to the art. ‘I mean it’s got to have energy, be a bit raw, come from inside. You know what I mean.’

‘Absolutely,’ says Ahmed. ‘You certainly get that with Miles he doesn’t do pre-written chord changes.’

‘That’s right,’ says Chet. ‘Miles probably never played this tune the same twice. His improvised melodic lines are the basis of the harmonic progression.’

‘He’s a genius. Where does he get his ideas for improvisations from?’

‘I know. It’s like he opens the bag just before the show and grabs a handful of ideas?’

‘Some of these people you hear today on Jazz FM. It’s like you are stuck in a lift,’ says Ahmed. ‘This so-called smooth jazz. I mean what’s that about. Smooth jazz is a contradiction in terms.’

They sit back to take in an improvised passage.

‘The pastries are delicious by the way,’ says Flavia, trying to make amends for their earlier lack of decorum.

‘Really tasty,’ says Matt.

‘Thank you,’ says Ahmed. He remembers the conversation that they were about to have before Chet’s arrival, the one about the bag. The big blue bag is still there under the table. It appears to have settled.

‘What is in the bag by the way?’ he asks.

………………………………………………………………….…

Casey Boss and Jagger arrive at Café Baba. Freeman and Willis are waiting outside.

‘How’s it looking?’ asks Boss. ‘Is jazzman in there?’

‘Yes,’ says Freeman. ‘He didn’t bring the bag though, but a man and a woman were already there with it.’

‘So there’s more than we thought. What about the café owner?’

‘I think they must all be in it together,’ says Willis.

Casey Boss has not done a lot of fieldwork lately. He is suddenly racked with uncertainty. Shouldn’t Zoot’s meds be working by now, he wonders, to give him a little confidence?

‘What do we do now?’ he says.

‘We generally burst through the door pointing guns and shouting,’ says Freeman. ‘I’ve always found that to be effective.’

‘What are we waiting for then?’ says Boss.

The four of them make their entry in the recommended manner.

‘Nobody move!’ yells Jagger. He has brushed up on his commands.

No-one looks as if they were about to move. It’s as much as they can do to look around. They see so much street theatre these days.

‘Stay away from the bag!’ says Jagger.

‘What’s the fuck’s going on?’ says Ahmed. His sentiments are echoed by the others. Eyes gradually focus on the Ikea bag. Whatever is happening, this is at the heart of the narrative.

Boss picks it up and examines it. He feels calmer now he has the bag and the meds are finally beginning to kick in.

‘Whatever is in the bag seems to have got everyone hot and bothered’ says Ahmed.

‘Whatever’s in the bag! Whatever’s in the bag! You know perfectly well what is in the bag. And we are going to find out everything about your little operation here at Café Baba.’ says Jagger, producing several pairs of handcuffs.

‘I swear none of us has any idea what’s in the bag,’ says Matt.

‘Well let me tell you what is in the bag,’ says Boss, feeling magnanimous. Zoot’s stuff is a real mood changer. ‘The bag is full of …….. ideas.’

‘It’s what?’ says Matt.

‘A bag full of ideas,’ Boss repeats.

‘What are you all talking about?’ says Chet.

‘It’s a bag full of concepts potentially present to consciousness,’ Boss elaborates. ‘Ideas.’

‘Cool,’ says Chet. ‘A bag full of ideas, eh? Can I have a look?’

‘Stay back,’ says Jagger, pointing the gun at his head.

‘I will attempt to explain,’ Boss continues. ‘It is clearly dangerous for too many people to have access to too many ideas, too many concepts potentially present to their consciousness, if you will, so it is necessary to keep a collection in a central repository. Ideas need to be carefully regulated, but it is also important to have a new idea now and then. After all, new ideas generate investment. Even the most antisocial ideas generate an investment. Sometimes raw ideas need to be transported from our warehouse to another location in order to be developed. Different skill sets you understand, storage workers and visionaries. Earlier today, in transit, a delivery was hijacked and has ended up here in the blue Ikea bag.’

‘What are you talking about?’ says Chet.

‘The bag is empty,’ says Flavia. ‘Or at least what is in it is invisible.’

‘Obviously, it’s invisible,’ says Boss. ‘Ideas are invisible.’

‘And heavy,’ says Flavia.

‘Of course, it’s heavy. You don’t think ideas just come in through your internet browser do you, or blow in gently on the prevailing south-westerlies?’

‘Anyway, you’ve got it all wrong,’ says Flavia. ‘A hooded man ran up to me in the street while I was standing there watching the jazz and handed me the bag and ran off.’

‘What?’ says Boss looking round at Jagger. Has his colleague messed up again, he wonders?

‘Why do you think he did that?’

‘Panic, possibly. I don’t know.’

‘And I’ve been trying to get rid of it ever since.’

‘Well, be thankful that you didn’t get rid of it,’ Boss continues. ‘There are a billion embryos of ideas in that bag. Ideas in their raw form, like the seeds of creation. Their value is immeasurable. Over time the ideas will grow and the department needs to be able to monitor their growth. Imagine if they fell into the wrong hands. We would have a free for all. We need to lock them back up in a safe place. It wouldn’t do for people to get the wrong idea.’

The Early Worm Catches The Bird

May 18, 2019May 18, 2019 ~ Chris Green ~ 4 Comments

The Early Worm Catches The Bird by Chris Green

‘You’re telling me you found it in the car park and you thought you’d just plug it into your workstation,’ says Frank Flint. ‘It’s a fucking data stick. What did you suppose it might be doing lying there in the car park of a high-security organisation like this?’

I had an idea that this was coming. Sir Frank Flint, MBE does not call you into his office for a chat about the weather.

‘You’ve heard of Stuxnet, right?’ he continues.

‘I haven’t,’ I tell him. Should I ask him if it is an internet service provider? Perhaps not.

‘The CIA or Israeli Intelligence left random memory sticks with logos in Iranian script printed on them outside their nuclear compound at Parachin. One of the operatives working on the Uranium Enrichment Programme there apparently expressed the same kind of curiosity that you have shown. He picked one of them up and plugged it in.’

I’m tempted to ask whose side we are supposed to be on at this point, but I don’t.

‘The Stuxnet worm that was on the data stick got to work on the programmable logic controller,’ he continues. ‘And destroyed a large chunk of Iran’s nuclear centrifuges. The rootkit the stick contained rendered it undetectable to Windows.’

I’m not sure whether it’s in my best interests to express admiration. Surprise or shock horror might be better.

‘So why do you think that our network might have suddenly crashed?’ he says.

‘Stuxnet?’ I ask.

‘No it is not fucking Stuxnet. If it were Stuxnet, we might be able to do something about it. We don’t know yet what it is, but Mr Kusnetsov is coming in later to help us find out. Tech support tell me with some degree of certainty that whatever it is originated on this stick.’

I know exactly what’s coming. Sir Frank just wants to humiliate me a little more first. In fact, were the positions reversed, I would probably do the same.

Summarily dismissed, I gather up a few belongings from my desk and make my way home. Over the next couple of hours, as I listen to the news on the car radio, similar glitches are reported at telecoms firms and at a government base. There are it seems a number of people losing their jobs because they were curious about flash drives they found in works canteens, car parks or railway carriages.

Maria may view it a little differently, but I am not bothered by the prospect of having time on my hands. I am not one of these career-minded people who are always looking for new openings, which is probably just as well as my CV will have been dealt a blow by my dismissal. I can use the time to brush up my saxophone playing while Maria is at work. She does not like me running through my Charlie Parker tutorial in the evenings. But for me, Bird is the greatest.

Maria is not overjoyed by the news of my dismissal but she says it will give me the chance to do the jobs around the house that I’ve been promising to do, like clear out the attic and mend the garden fence. In no time at all, she has written a list. I didn’t realise so many things were broken and nearly everything we have needs repainting. There are curtain rails to be fixed, light fittings that need replacing, paving slabs that need laying, the old harmonium needs to go to the tip and the dead cat needs burying. The conservatory too features quite heavily. It’s a wonder that it’s still standing. Perhaps Maria is over-reacting. I can always tell when she has the hump though because she slinks off to the art room and puts her Sparklehorse CD on. It calms her down, she says.

Next morning, after Maria has gone off to work, I bury the cat at the bottom of the garden. This is probably the most urgent task on the list. The rest can wait until later. Then, I watch the news while I assemble and polish my instrument. It is a Selmer Prelude alto, which while it is not a professional sax, does give a lovely rich sound. The celebrity newsreader who has just married the celebrity chef makes reference briefly to yesterday’s computer glitches but quickly moves back to their main story, the child abuse scandal that is rocking the political world. I turn it off and get started on the intro to Cool Blues. This is one of my favourite of Bird’s tunes and I am anxious to get the embouchure right.

After several attempts, I feel that I have got the feel of the first few bars, perhaps not with the panache of the master, but the tune is recognisable. I make myself a cup of tea. After lunch, I move some furniture around, line up some cans of paint in the spare room and hide the harmonium behind some dust sheets in the shed. I am then able to make some progress on the solo of Bird of Paradise before Maria gets home. Maria is pleased with my day’s work. After dinner, she lights the scented candles in the bedroom. I make a mental note to go on to the Agent Provocateur website.

The following day I manage to get the first wall of the spare room painted. There is no sense in hurrying these things. I then have time for a good run through of Night in Tunisia. It is quite a complex tune, one that is going to take a lot of practice. I’ve read that Bird used to practice up to fifteen hours a day, not on this one tune of course. I turn next to Lover Man. The slow tempo of this makes its fingering easier to master. It sounds good.

I would have liked to have lived in the 1950s, with the slower pace of life. Things must have been much simpler before digital technology took over our lives. There were no needy netbooks and tablets and no attention-seeking smartphones. People talked to each other, face to face. You probably even had proper friends and not just Facebook friends. You would not have had to press 1, 2, 3,4 and 5 on your keypads every time you made a phonecall and then be put be on hold listening to Orinocco Flow over and over again for twenty minutes before you were put through to the wrong department. Or be called day and night by robotic machines wanting to handle your mis-sold insurance claim.

Most of all, though, in the 1950s everyone would have listened to jazz. Swing, Bebop, Hard bop, cool jazz, modal jazz, there was a type to suit every mood. Even on the estate where I grew up, they would have been listening to Duke Ellington or Miles Davis, Chet Baker or Stan Getz. You would have gone down to the Palais on a Saturday night and danced to a jazz band. You would have met your partner there. The music was special which is why it is so enduring.

I am just putting the instrument away when I hear Maria’s car pull up. I quickly open the paper at the jobs pages. Maria storms in. She appears to be a little flustered.

‘The roads are gridlocked,’ she says, throwing her heavy bag down. ‘And those traffic lights at the Longditch roundabout were completely crazy.’

‘They are always bad there,’ I say, giving her a hug. ‘Its a wonder there aren’t more accidents.’

‘They were going off and on like a strobe light,’ she says, pushing me away. ‘There was just this endless chorus of car horns and drivers getting out of their cars and shouting at other drivers. I was there for ten minutes, too frightened to move.’

‘Probably water has got into the works or something,’ I say.

She breezes through to the kitchen. There is a clatter of dishes and I hear the microwave go on.

‘You could be doing this,’ she calls through to me.

‘I’ll do dinner tomorrow,’ I say.

‘And, when I was in the hairdressers,’ she says, her voice raised above the rumble of the microwave. ‘Louise was saying that the bloody trains have stopped running, something to do with signalling failure.’

‘There’s always something, isn’t there?’ I say. ‘I expect they will sort it out.’

She huffs loudly and goes on upstairs to change. She puts her head around the door of the spare room. She doesn’t comment on my progress. I see little prospect of a scented candle after dinner tonight.

It is 10 am and I am in the middle of Bye Bye Blackbird when the phone rings. At first, I leave it, but it carries on ringing. On the basis it might be important, I answer it, the saxophone still around my neck.

‘Hello. I’m Brice Cromer from the Gazette,’ says the voice. ‘Am I speaking to Brendan Rogue?’

‘Yes, you are,’ I say. Instantly I have reservations about acknowledging my identity, but what’s done is done. I swing the instrument behind my back.

‘And until two days ago you were working for the security organisation who don’t like to be named,’ he says. I imagine he thinks the description is humorous. The joke, however, is a little stale.

‘What is this about?’ I say in as challenging a manner as a mellow musician can muster.

‘It’s being reported that you are responsible for their little computer problem,’ Brice says.

He is referring to the data stick episode. How would he have got hold of the information and connected it back to me? It seems unlikely that any of my colleagues would have offered it voluntarily. They are a tight-lipped bunch and everyone as straight as a die. I can’t imagine how I got the job there in the first place with my record. They must have had a work experience student working in HR that day. I put the phone down. In case Brice calls again, I leave the receiver off.

I can’t concentrate on Bye Bye Blackbird any longer. I need a quiet place to think. I get the roller and brushes and resume painting the spare room. I seem to have a talent for digging myself into a hole. Ever since I was a boy I have landed myself in trouble by doing a succession of remarkably injudicious things while at the same time drawing attention to them. The expression hiding in the light comes to mind, not a great idea. Why did I get thrown out of school for smoking dope when none of my contemporaries did? How did I get into stealing cars before I was old enough to drive? Why did I always get arrested on protest marches? Did I even know what I was protesting about back then? Was it the need to be noticed? Perhaps I would never change. Perhaps I was born for trouble.

Before I know it, I have finished two more walls in blue planet. I am going to use Tibetan gold as an accent colour on the fourth wall, a combination I have seen on a design programme on television. I am planning now on finishing the room today. When Maria comes home she will be impressed by my achievement. After dinner, she might even light the scented candles again.

Maria arrives home unexpectedly at lunchtime. Is she checking on me, I wonder? Have I broken my word so many times that she feels she needs to monitor my progress? She clumps up the stairs. She has not even taken her boots off. Something is amiss.

‘Why are all those reporters outside?’ she demands.

‘W’what!’ I splutter. I had not imagined that this would happen so soon.

I go to the master bedroom to take a look. There are about a dozen of them on the driveway, big burly bastards with microphones and notebooks at the ready. There is also a TV camera crew, jostling for position. Perhaps I was too preoccupied with my musings to have heard the disturbance. But how could I have possibly missed them? Admittedly, getting the bell to work is one of the jobs on Maria’s list that I’ve not got round to yet, but, surely one of the hacks would have worked out that the bell wasn’t working and hammered on the door. Perhaps I was away with the fairies.

To my surprise, Maria agrees to go to the front door and keep the press busy while I dart out the back. She cannot know what I am up to. Can she? I grab my canvas messenger bag and make a run for it. Fortunately, my Jeep is parked in the back lane. I hadn’t planned it this way, but now time is probably short. I check my texts. ‘Guinness tastes better in the afternoon,’ says the one I am looking for. It is time to get started.

My next step is to find the locations where I am to deposit the rest of the flash drives. There are twenty-four in all to carry out the cyber attack, each bearing the deadly DuneWorm which regardless of platform will burrow into your system like an Alaskan mining drill. I have the map here showing the favoured targets. These I am told have been selected to cause maximum disruption. Others will be delivering the same message elsewhere round about now.

JAZZ

September 22, 2018September 22, 2018 ~ Chris Green ~ Leave a comment

JAZZ by Chris Green

She came into Birth of Cool and asked if we had an original New York Prestige yellow label vinyl pressing of Webster Young’s For Lady. The precision of her request startled me.

‘Featuring Mal Waldron on piano and Paul Quinichette on tenor sax,’ I said. ‘Mellow album. We have a copy on CD.’

We had sold two or three CDs in the last year. Trumpeter, Webster Young’s 1957 tribute to Billie Holiday was becoming a classic; its smooth, lyrical lines latterly compared to those of Miles Davis. On release though the album had been overlooked. For a vinyl copy you would be looking at at least £500, and although we had some rare vinyl, we had nothing that rare.

‘That’s the one,’ she said. ‘But I do want it on vinyl.’

I explained its rarity and told her I could take her phone number and put out feelers. Meanwhile, she was welcome to browse the vinyl in the fifties selection. She might find something else she liked. I had Paul Quinichette’s On The Sunny Side and Thad Jones’ After Hours from the Prestige back catalogue as LPs. She smiled and thanked me. I thought I detected a trace of Spanish in her pronunciation. Her smile held a hint of flirtation. She flicked back her long dark hair and as she did so, her breasts rose up in the sleeveless chemisier she was wearing, offering a glimpse of cleavage. This girl was stunning.

She was a breath of fresh air. Birth of Cool’s customers tended to belong to the older age group and were predominantly male. Market research suggested that young urban males were drawn towards Indie Rock and young females went for R and B or Pop, neither of which we stocked. Young girls, in particular, seemed phased by the ambience of a specialist jazz shop. On the occasions that we did get a female under thirty, it was for the latest Gregory Porter CD or perhaps, something from Sadé’s back catalogue, and for reasons that I cannot explain these girls tended to be quite plain. This was strange really because on the occasions I had been to Ronnie Scotts or Boisdale Canary Wharf, I had been struck by the number of babes on display. Perhaps these beautiful young women went to these places because their boyfriends liked jazz and they did not themselves buy jazz records.

I watched her as she made her way through the albums, picking up one or two to read the sleeve notes. Although by this time I was serving another customer, I could not take my eyes off her. Her short skirt hugged her hips and shapely bottom and showed off her long tanned legs. As I bagged up the new customer’s Duke Ellington sheet music, I noticed that she had written her number on the pad on the counter. Her name was Maria.

I had been learning Spanish ahead of a holiday I was loosely planning in Spain. I thought I might go to Sevilla or Cordoba to take in the architectural treasures of the Moors’ Golden Rule. Since Easter, I had been attending evening classes at the local college. As Maria was leaving, I plucked up the courage to chance a little. I was serving an elderly customer with a Cleo Lane boxed set at the time, so it could easily have been embarrassing if Maria did not understand me.

‘Yo le llamaré tan pronto como encuentre el álbum. Hasta la vista,’ I called out. I hoped that the grammar was right, This was the area that I was having trouble with. I still did not know of course that Maria was Spanish.

‘Espero volver a verle pronto. Hasta luego,’ she said, as she blew me a kiss. ‘Besos.’

I was smitten.

The following day I was listening to Ghost of a Chance, by Zoot Sims, the first recording on which he had played soprano sax, in my opinion, a seriously underrated instrument. I had the volume turned right up and was singing along.

‘Cracking tune,’ said a voice in a thick Irish accent.

I turned around. Beside me was a short stocky geezer in a checked overcoat. Under his arm, he had a quantity of what I could see at a glance from the logos on the covers were old Prestige recordings. There must have been about twenty-five in all. He laid them down on the counter. I went through them. The sleeves appeared to be in good condition. There were albums by Billy Taylor, Thelonious Monk, Sonny Rollins, John Coltrane – and Webster Young’s neglected masterpiece. I did everything I could to hide my excitement.

‘I picked them up at an auction, so I did,’ he said. ‘What will you give me for them?’

I looked him up and down, mostly down. I was over six foot and he was about five foot four. He seemed a little fidgety. He did not look as if he was expecting much. I took one or two of them out of their dust jackets and inspected them.

‘Second-hand jazz record prices are at an all-time low,’ I said.

‘Not that low, to be sure,’ he said, hoping to gain some ground. ‘I’ve seen some of your prices.’

‘I’ll tell you what,’ I said. ‘I’ll give you twenty pounds for the lot. And you’re getting a very good deal.’

He grimaced, but to my delight accepted without trying to barter. I imagine he was heading to SportingBet three doors down.

I tried the number Maria had left right away. The phone rang and rang. No reply. No voice mail. To hide my disappointment I put For Lady on the Denon in the back of the shop and went back in to listen. What a sound! Vinyl provided a warmth and immediacy in its sound that digital could not match. Webster’s mournful muted trumpet sounded as if he were in the room, playing just for me. I could see why Maria wanted this record. It was sublime. When the album had finished and I had flipped it a couple of times, I tried the number again. There was still no reply. I tried phoning Maria every hour or so for the next two days. I realised that this was bordering on the obsessional, but I could not stop myself. On the third morning when I tried, I got the message, the number you have dialled is not available or not in service, please check the number and try again. I was devastated.

I started to keep the shop open late, listening to the best of the new releases I’d ordered along with classics from Miles or Mingus. I even bought some new Quad ESLs. Their three-dimensional sound was awesome. I played Webster Young. I lived with the hope that Maria might call in again. She did not. Sometimes people would trickle into the shop around seven on their way home from work and buy a few discs. They would chat about the music they liked and we would compare collections. It was good to have some company. It was certainly preferable to being home on my own.

Geraldine had left back in April. We had irreconcilable differences. She felt I spent too much time in the shop. I felt she spent too much time at the shops. Geraldine had never liked jazz much anyway. Perhaps I should have realised this from the beginning when I took her to see the legendary Herbie Hancock at The Roundhouse in Campden and she complained all the way home on the tube, that he seemed out of tune. She described Mulatu Astatke and the Heliocentrics magnificent set at Cargo, as a ‘bunch of buglers all playing different tunes’. John Coltrane she said sounded like someone treading on a cat. Certainly, I should definitely have registered our incompatibility by the time she took my clarinet to CLIC Sargent. It had been hard, at first, to adjust to the drop off in home comforts. I missed her chicken tetrazzini and her aubergine parmigiana, but on the plus side I was now spared The X Factor and Britain’s Got Talent, and I was allowed to play my alto sax around the house and rescue my piano from the shed.

One afternoon I was in the shop listening to Art Blakey and The Jazz Messengers with Wayne Shorter on tenor and Lee Morgan on trumpet while I was looking through some CCTV footage, following an incident outside Guy Coventry Gun and Sports Shop next door. Birth of Cool’s premises were in a downtown location, so it was not unusual for the police to ask me to check something for them. The Big Beat finished with the alternate take of It’s Only a Paper Moon. Apart from Tupac’s black BMW parked on the double yellow line, the cameras had not picked up anything suspicious, so I was about to switch back to live pictures. It was then that it occurred to me to look through the footage for the day Maria came into the shop. At least this way I would be able to see her again. I had the date and time etched into my memory, Monday, June 11th at 11:11 am, so I typed this into the machine and let the playback run. One or two customers came into the shop during the grainy footage, but to my alarm, there was absolutely no sign of Maria. I ran the footage again, adding a little time to both ends of the search. Still, it did not pick up Maria. What was happening? Had the Vigilant malfunctioned? Had I got the time wrong? I didn’t think so. The machine had picked up the customer I had sold the Duke Ellington sheet music to, and the one I had sold the Cleo Lane boxed set to. Could I have imagined the encounter? My heart was beating like an express train and I felt nauseous. I locked up the shop and went across the street to see Aziz in the pharmacy to see if he would let me have some valium.

‘I cannot be doing that,’ he said. ‘Islam forbids it.’

I pleaded with him but to no avail.

‘You must be pulling yourself together,’ he said. ‘Now please go, before my manager comes.’

Aziz would have been more accommodating a year or so ago. He had even offered to sell me skunk on one occasion. But, since he had joined the Muslim Brotherhood, he had changed.

I settled on a bumper pack of Kalms Day Tablets. I took handful right away. I went home and took the rest with a tumbler of Johnnie Walker. I may have refilled the tumbler. I did not go into work the next day.

When I went back in, I called in the engineer to check out the Vigilant recorder. He did some tests but could find no fault. He made a few adjustments to the focus on the cameras to justify the exorbitant call out fee. I got the feeling that he saw me as a weird jazz buff who had lost his grip on reality. I wondered if he was not right.

Maria haunted my unconscious. Night after night I went to sleep and there she would be, a nocturnal temptress. She featured in all my dreams. Some were easier to interpret than others. In one, she was on stage at The Hideaway Club playing the oboe and the instrument turned into my penis. In another, I was eating a bowlful of over-ripe peaches from her lap. In one of the more difficult ones, I was on a golden beach listening to Desafinado. Dolphins were playing in the surf. Maria, who I had met on a balloon trip, was rubbing olive oil into my back and talking in sultry Spanish. A man with a limp and a shamrock in his hair was selling doughnuts. He was dressed in a harlequin suit. Dwarf camels, as small as cats, were frolicking around pyramids that Maria and I had made in the sand. The scene changed to a crowded market place and a hooded figure riding a jet black quad bike and waving a dead fish was chasing me past stalls selling saxophones and clarinets. He was shouting at me in a language I did not recognise. I shouted back in a language I did not recognise. It was dark and I was trying to find my car. I could not remember what make of car it was or where I had left it, but the car had Barcelona plates. There was a large moon low in the sky and shapes of a craggy landscape were in silhouette. I was running. I had a battered leather suitcase in my hand. I had not packed it properly and Maria’s clothes were spilling out onto the cobbled stone street. I made an effort to look back but I knew the scene was disappearing. I realised that I was dreaming and I had the feeling that I had had this dream before, but as someone else. There was a faint light ahead, but this too was becoming fainter and more distant. I woke up in a sweat.

Weeks went by and I went through the motions of running Birth of Cool. My heart was not in it. I did not buy any new stock, and the number of customers dwindled. I now kept a bottle of Johnnie Walker out the back and went through to see how it was getting on regularly throughout the day. Caleb, a friend who I sometimes jammed with, told me I should stop moping around. I should get out more. It was easy for Caleb to say this, with his outgoing personality, and a seemingly endless procession of women wanting to go away for the weekend with him in his Winnebago. However, at the end of August, I decided to go for it. I closed the shop for a week and took a holiday in Barcelona. I had no idea which part of Spain, if any, Maria might be from, but for some reason, I had got it into my head that she might be from Barcelona.

Forty degrees was hotter than I was used to. I could not stop thinking about Maria as I ambled around the Barri Gòtic, looking for shade. Time and time again I thought I spotted her in the crowds, but it was just my imagination. I half-heartedly started to practice my Spanish in shops and tapas bars, but we were in Catalonia and I had difficulty in making my Castilian Spanish understood. I had even more difficulty understanding Catalan, which is to all intents and purposes a separate language. In the end, I stuck to English since everyone seemed to know I was English anyhow. How is it that people in Mediterranean countries always know where you are from before you even speak? August is probably not the best time to visit Barcelona. The streets are teeming and the pavements are like barbecue coals. Everywhere you go you have to sidestep African street vendors selling fake Gucci and Prada merchandise. It was good to get back to my backstreet hotel and the hum of the air-conditioning. On the evenings I didn’t fall asleep through exhaustion, I went to the Harlem and Jamboree jazz clubs. The Spanish have a drink called Fundador.

Everything about the plane bringing me back from Barcelona seemed anomalous. The cabin had unfamiliar livery, the crew were dressed in unfamiliar uniforms and I did not recognise any of the passengers from the outbound trip. I wondered if I was on the wrong flight, but the senior flight attendant assured me that we were going to the right airport. There seemed to be more turbulence than you might expect over the Bay of Biscay and the flight arrived a few hours late. In fact, I was asleep by the time we landed. I thought no more of it, but as I was driving home from the airport, little things seemed out of place. There seemed to be a number of new road layouts, the road signs were all in a different font, and the car radio wasn’t picking up my pre-tuned stations. I could not put my finger on what was happening, but little details in everyday life did not match those that I had grown used to. Tupac’s BMW was not parked on the double yellow lines outside, in fact, there were no double yellow lines outside, Guy Coventry Gun and Sports Shop had become a nail bar, and the cycle repair shop had been replaced by a Bulgarian supermarket and the railway bridge had disappeared.

Eventually, my birthday, September 11th, came around. It had been three months to the day since Maria had entered my life. I had dug out some of my favourite tunes and was playing Charlie Parker’s version of Out of Nowhere, when out of nowhere as if on cue Maria walked through the door. She was wearing a cream trouser suit and a dark blue floppy straw hat. She had a small travelling bag over her shoulder. The suit looked a bit crumpled, but she looked divine. My heart skipped a beat. I would be able to present her with the Webster Young LP. I would be able to take her in my arms and make love to her.

Maria, however, was not smiling. She had a serious look about her. Hesitantly she came over to the counter. I sensed that something was wrong. I turned the music down.

‘Quiero que matar a mi marido,’ she whispered.

Matar – kill, marido – husband. My brain worked it out slowly.

‘You want me to kill your husband?’

‘Sí. Me gustaría usted hacer esto,’ she said. ‘I would like you to do that.’ She looked me right in the eye. It seemed that her proposal was serious.

‘W – why do you want me to kill your husband,’ I stammered.

‘I will start at the beginning. Kyle has always been a very jealous man. Three months ago he came back from a business trip and found some tickets from The Jazz Café by the side of the bed and accused me of having an affair.’

From the way she had flirted with me earlier, I could appreciate how he might be worried. I said nothing.

‘I had been out with my friend, Yvette, but he didn’t believe me,’ she continued, her voice becoming a little shaky. ‘He completely lost control, called me a bitch and a whore and he took off his belt and beat me savagely. He stamped up and down on my phone so I couldn’t contact anyone and kept me in a locked room. Worse still, he would come in sometimes in the middle of the night and rape me. Es un bestia abominable. He does not deserve to live.’

She was crying now. I put my arm around her to comfort her.

‘But why me?’ I said.

‘I don’t know. I just thought of you. You seemed to care.’

There was a silence while I tried to assess the situation. Care I might, but murder was not something I had ever in my life contemplated, even in my darkest moments.

‘Why don’t you call the police?’ I queried.

‘I did call the police. As soon as I escaped from the house, I called the police. From a phone box. They were not interested. They treated it as a domestic matter,’ she said. ‘They took some details but I could tell they were not taking me seriously. Eventually, I ran out of coins.’

I was being drawn into the front line of Maria’s troubled life. It struck me there was a significant gulf between selling hit records and being a hitman. I had not bargained for complications like this in my ardent fantasy. I felt I had stepped into a nightmare. I told her I couldn’t give her an answer right away. This was something that needed careful consideration. Inasmuch as it was here and now, the experience in the existentialist sense was ‘authentic’ but there was an edge of the surreal about it. This world was out of kilter. My head was spinning.

‘Can I come and stay with you?’ Maria asked, pleadingly. ‘And we can talk about it.’

How could I say no? Given time, I reasoned I might be able to talk her round. After all murderous intent is not a rational state of mind. Maybe we could go away for a few days to lift her spirits, and she would have time to reconsider. We could perhaps go on the Eurostar to Paris and catch some of the programme from the Quai Jazz Festival. Once we had got to know one another better she would hopefully stop talking about murder. She didn’t. Once we had made love, she got right back on to it.

‘In the perfect murder,’ she said. ‘the murderer either has a trustworthy witness who can provide an alibi, or has no apparent motive and leaves no incriminating items or physical evidence at the scene of the crime.’

I could see that the trustworthy witness who could provide an alibi might be a problem. The no apparent motive was now quickly vanishing and DNA might be an issue regarding covering one’s tracks. Anyway I wasn’t considering it, was I? I had to bring forward the Eurostar idea.

‘We will go soon, cariño,’ she said. ‘Once my husband is out of the way.’

In this baffling world where there were new road signs, no digital radio stations, no double yellow lines outside my shop, a Bulgarian supermarket where the cycle repair shop should be, and someone who was invisible on CCTV staying with me, I discovered another anomaly: there were no trains. I do not mean that there were no trains running on the line over the old railway bridge, or even that the Eurostar service had been suspended; there were no trains anywhere. You would have thought something this important would have been newsworthy. I tried searching on Dogpile but could find no reference to trains, or the lack of. Perhaps there had never been any trains. I thought of asking Maria about it, but of course, she might not know about it because she had been kept in a locked room. I went in to ask Aziz, who I noticed was now clean-shaven.

‘There have not been any trains for months,’ he laughed. ‘Since the debacle over the franchises.’

Maria kept on pushing the idea of murder. Each time I came up with a plan for our escape, it encountered an obstacle. For instance, Maria did not have a passport and she had left all her papers behind. And after we had made love, she would once again return to the subject of killing her husband.

‘I can get into his electronic calendar,’ she said one time. ‘I can find out where he will be and when he will be on his own.’

‘ What about leaving DNA?’

The next day she said, ‘One idea I have is a fast-acting poison that will simulate a heart attack.’

‘You have to be able to get to him to administer the poison. There’s the problem of leaving DNA, still. DNA is a real bugbear when it comes to planning murders. And what about CCTV cameras?’

‘This might not be an issue. Were you able to see me on your CCTV cameras?’

‘No, but …..’

‘You must have realised that some things are not the same as in the world that you are used to,’ she said. ‘You will surely by now have noticed subtle differences.’

‘Are you saying that this is not the real world?’ I asked, dumbfounded.

‘This is not an imaginary world, querido,’ she said. ‘To most of those around you, this is everyday just as they’ve always known it, but you have, as it were, crossed over from another temporal space.’

‘Am I able to return to the old reality, to cross back over?’

‘You might be able to return the way you came, but first, you have to understand how you arrived here. Only you can do that.’

‘And supposing I could return, would I be able to take you back with me to the real world.’

‘It is not the real world, mi bello, any more than this one is an imaginary world.’

‘But would I?’

‘No-one can say. There are no records of such matters.’

This was about as clear as mud.

I slipped out to the shops once or twice to help kit Maria out and to get our day to day supplies, but we couldn’t go out together for fear of her being seen. In fact, she couldn’t go out at all. She was in essence still a prisoner. I had been able to get Caleb to look after Birth of Cool for a few days, but he was becoming suspicious about what was going on. Caleb would be in the old world, with the gunshop next door to Birth of Cool, the one with the railway bridge – wouldn’t he?

Maria and I couldn’t hide out forever. We needed a resolution. There were two options: either I kill her husband, or we find a way to cross back over. First, you have to understand how you arrived here, Maria had said. I tried to think this through. The weirdness had begun when Maria first arrived in the shop back in June. But the day to day did not change too much until I returned from Barcelona. I had initially noticed big changes on the plane. When I had visited Barcelona I had been so preoccupied, I had scarcely taken in anything about the city, other than where the landmarks in the Gothic centre were, and the location of one or two jazz bars. Apart than that, all I knew that was that Barcelona had held the Olympics a while back and had a better than average football team. And weren’t there some connections with Picasso and Salvador Dali? I decided it would be a good idea to do some research on Dogpile. It was a long shot, but the hope was that it might throw up some links between the city and transmigration. Was this the right word? Clearly not! I found out that Barcelona was the sixteenth most visited city in the world and the seventh most important fashion capital in the world. I discovered that drivers in Barcelona were considered among the worst in the world, with an accident occurring in the city every nineteen seconds, this rising to one every sixteen seconds on a Friday. All very interesting from a cultural point of view, but not exactly the kind of information I was looking for.

On my return, security at the airport I recall had been lax, in fact non-existent. It seemed I was off the plane and straight into the car. I could not even remember picking up my case. Then there had been the missing motorway turn-off and the unmarked road that took me past the new logistics warehouse. Where were the old army barracks I should have passed? There were the changes I found on my return to my street to consider and to cap it all the mystery regarding the trains. I felt I could no longer be certain of anything.

Caleb phoned me to tell me he was sorry to leave me in the lurch but he had to go off to teach a weekend workshop in Experimental Jazz in North Norfolk. Ornette Coleman, John Zorn, The Cinematic Orchestra, that sort of thing, he said.

‘I’ll be alright on my own,’ Maria said. ‘There’s your film noir collection to explore. I can watch The Postman Always Rings Twice, and if I get bored I can repot your Phoenix Roebelenii.’

So, on Saturday I went in to open up Birth of Cool. Apart from the tree that was blocking the road and the new arthouse cinema that had opened across the street, everything seemed normal. I soon got into the swing of things, put on a Cool Jazz compilation and waited for the Saturday shoppers.

I did not recognise him right away, but something was familiar about his features. He had slipped in unnoticed and was browsing the CDs in the Be Bop section. He was a thick-set man, a little shorter than I was, perhaps five foot ten. He had short brown hair that was thinning on top. He wore a shiny grey suit and an open-necked shirt with a chunky gold chain around his neck. I moved around to take a closer look, being careful not to attract his attention. My heart stood still. This was definitely Maria’s husband, Kyle. I had been shown the photo often enough. This was the man Maria wanted me to kill. It was a shame Guy Coventry Gun and Sports Shop was no longer next door. I could have prepared for the encounter. What was he doing here? I kept my eye on his every movement. He did not look as if was about to attack me. He was not giving this impression at all. He appeared to be genuinely looking for a Jazz CD. He smiled at me, made his way over to the Hard Bop section and picked up a Horace Silver CD to look at the tracks. There was no one else in the shop now but the two of us. He ambled over to the vinyl section, a long rack holding a few hundred albums. He seemed in no hurry, flicking methodically through the discs. I busied myself sorting out the clutter that Caleb had left around the till area, casting furtive glances in Kyle’s direction now and then. Looks can be deceiving, but he did not look like a violent man at all and, I noticed, he did not wear a belt. I began to have doubts about Maria’s story about the beatings. She hadn’t had any bruises when she came to stay. It also began to seem questionable that anyone could be locked in a room for three months, and in our sexual relations, she had not shown the reticence you might expect from a victim of rape. Vacillation took hold.

Having selected a couple of Chet Baker CDs, White Blues and One Night in Tokyo with Harold Danko, Kyle came slowly over to the counter. Now was make or break time. Should I grab the Leak amplifier and smash him over the head with it? The moment passed.

‘I don’t suppose you ever come across the New York Prestige yellow label vinyl pressing of Webster Young’s For Lady featuring Mal Waldron on piano and Paul Quinichette on tenor sax,’ he said, in a quiet well-spoken voice. ‘I’ve been looking for it for ages.’

I was shaking.

‘No,’ I finally managed to say, ‘It’s quite rare, isn’t it.’

‘I’ll just take these then,’ he said, with a polite smile. ‘But if you ever do come across it though, would you be good enough to let me know?’ He handed me his business card, Kyle Clancy – Futures Trader, and slid his credit card into the machine. I was gripped by indecision. The bronze statuette of Louis Armstrong that I used as a paperweight was close at hand. This could deliver a savage blow. Should I or shouldn’t I? How could I kill someone who might well be innocent of any wrongdoing? How could I face Maria if I didn’t take this golden opportunity? Once more the moment passed. Kyle took his CDs and left with a cheery wave.

‘See you again,’ he said.

The mysteries were multiplying. What was I to believe? What would happen next? For all I knew Kyle might at this very moment be on his way round to my house to do unspeakable things to Maria. Anything was possible. I phoned home, using the code I had agreed with Maria. She was to let it ring four times, and wait for me to ring again a few seconds later. She was to answer on the third ring. She didn’t. Could it be that she hadn’t heard the phone? The Bose Cinemate home cinema system could be quite loud. Maybe she was making her way through my film noir collection.

I shut up the shop and rushed back home. The house was empty. There was no sign of Maria. All her clothes were gone from the bedroom. She had vanished. She did not appear to have left a note. Kyle had not had time to have spirited her away. There were no signs of a struggle. She must have left of her own volition. But why?

I noticed too the Webster Young LP was gone. What was it about this world-weary collection of tunes that had made it so sought after? Certainly, there were beautiful passages of light to punctuate its bleakness, and the counterpoint between Young’s trumpet and Paul Quinichette’s tenor was outstanding, but was it worth all the upheaval it seemed to be causing? After a settling pint of Johnnie Walker, I tried to assess the situation on a point by point, best guess basis.

My life had been normal up until three months ago when Maria came in and asked for the LP.

I was now in some kind of alternative reality at the mercy of unpredictable developments.

I had been completely obsessed by Maria at the expense of all else.

Maria may have had supernatural powers, or be a fraud.

I had resisted the opportunity to kill Kyle.

Kyle may have been a fraud.

Nothing made any sense.

I was bewildered.

I was drunk.

I think it was Alexander Graham Bell who said, ‘When one door closes another door opens, but we so often look so long and so regretfully upon the closed door, that we do not see the ones which open for us.’ So it was I made the decision to try to forget about Maria, put the whole episode behind me, and get on with my life. I wrote out a shopping list and wondered about buying a dog. Later that day, out of the blue, I had a phonecall telling me that I’d won First Prize in a raffle. I didn’t even know that I’d entered a raffle. All I had to do, the girl on the phone said, was turn up at the airfield and do a short training course. Was there a hint of Spanish pronunciation in her voice? Or just my imagination again?

‘You will then be treated to a three-course lunch,’ she said, ‘before making the drop.’

‘The drop,’ I remember thinking, ‘what drop?’

My brain had for some reason thought she had been talking about a balloon ride, which would have been a more usual raffle prize than a parachute jump. What made me go ahead with the jump, I cannot say. I was terrified of heights, but the girl sold the idea well, talking about the enjoyment and the exhilaration of skydiving. It was a static line parachute, she said, which opened automatically, so I did not have to worry. It seemed churlish to refuse.

I put on my best metaphorical brown trousers and went along. Jumping out of the plane was among the scariest moments of my life. I blacked out for a split second. Once I regained consciousness, however, I found the experience oddly exhilarating. A static line jump from 3,500 feet from the moment you leave the plane to the moment you hit the ground should take about three minutes. Mine took over an hour. Albert Einstein once said, ‘Put your hand on a hot stove for a minute, and it seems like an hour. Sit with a pretty girl for an hour, and it seems like a minute. That’s relativity.’ I would have accepted this as the explanation, but my watch confirmed that an hour had passed. An hour in which I was able to play over in my head the events of the past few months and put them in perspective. An hour in which I had time to consider my desert island discs, should I ever be invited on to the show. An hour in which I was able to remember the whole plot of Inception.

One the way back home, to my astonishment, I noticed that the road signs had been changed back to their original font, and the car DAB once again picked up the pre-tuned stations. Jazz FM was running a Blue Note special. When I got back, Tupac’s BMW was once again parked on the double yellow lines outside my shop, Guy Coventry Gun and Sports Shop was open again and the railway bridge was back. A train zipped across it. Aziz was just leaving the pharmacy. He waved.

‘Hi Aziz,’ I shouted across the road. ‘It’s good to see that you’ve grown your beard again. I couldn’t get used to you clean shaven.’

The following day, I spruced up the shop a little. I sorted out the old stock and put some items in a Sale bin. I took down the out-of-date notices for the summer jazz festivals and put some colourful new displays in the window. I had just made myself a cup of lemon and ginger tea and put on some Miles Davis when a pair of tall men in badly fitting blue suits walked in. They appeared uncomfortable in the surroundings. They did not look like they had come in to buy jazz.’

‘We would like to ask you some questions relating to the murder of Kyle Clancy,’ said the one with the pencil moustache, flashing an identity card. ‘We would like you to accompany us to the station.’

This was not what I had in mind about one door closing and another opening. Perhaps Alexander Graham Bell had just lived in a very draughty house.

All About Jazz

June 8, 2017June 26, 2017 ~ Chris Green ~ Leave a comment

All About Jazz by Chris Green

All About Jazz tends to be quiet in the afternoon. After the lunchtime rush, things do not pick up again until the evening. We are a small establishment down a side street on the edge of town. If you were driving along the main road out of town, you might not know we were there, unless you happened to spot the sign saying All About Jazz – Open Lunchtime till Late, Live Music at Weekends. My partner, Jazmin bought the lease last year with her inheritance. She saw the advert in the local paper and liked the idea of the place because of its name. I was a little dubious about the idea, not just because of its poor location but because, at the time, I knew nothing about jazz or running a bar. My objections were ignored. In no time at all, she was arranging professional photoshoots for the publicity material.

Many of our regulars are seasoned jazz buffs. The afternoon lull gives me the chance to listen to a selection of tunes. I am able to study album cover notes to see which musicians play on which tunes. Jazz players are often not household names so it seems a good idea for a rookie jazz bar proprietor to build up his knowledge. I am able to pick out passages that I can refer to, an improvised saxophone break, a change of time signature or perhaps a hidden piano melody. There’s not much point in claiming to be being a jazz fan if you don’t appreciate the subtle nuances of the form. You might as well listen to Olly Murs or Sam Smith.

Jazmin likes to get out in the afternoons so I often take the opportunity to relax in a comfy chair with an iced coffee and a good book, Haruki Murakami, Philip C. Dark, that kind of thing. I like a little quirkiness. Life can be too serious. There’s nothing better than a gentle read with some old standards playing softly in the background. I am doing so when the tall man in the light-coloured suit walks in. I have not seen him before. He has a dark complexion, not black, not white, not even brown but a colour you just can’t put into words, and slicked back hair with a quiff that seems to defy gravity. He has a facial scar and a thick gold necklace. He could easily be auditioning for a David Lynch film. Louche is not quite the word I am looking for but it is close. He orders a large Plymouth gin and bitters. He is of indeterminable race. His accent is impossible to place. For all I know, he might be from Mars.

He starts talking to me about security cameras. Although he looks nothing like a rep, it seems he might be trying to sell me a new CCTV system. Either that or he is trying to rob me. More likely trying to rob me. But, it transpires security is just a random interest. A passing topic of conversation. After we have moved on to necromancy and The Twilight Zone, he takes his drink and goes over to sit at a table by the window. All the time that he is here, I feel unaccountably on edge. Being a jazz bar, we get plenty of oddballs passing through, but there is something different about this one. Something unexplainable, sinister, threatening. It is not just his unusual choice of conversational topics or the spooky way he maintains eye contact yet appears to remain aloof. His very demeanour carries with it an air of menace. I am not one for a lot of mumbo jumbo but I can detect a dark aura around him. When he is in the room, it feels like the air in the room has changed.

After he has gone, his presence oddly remains. I find myself looking around to see if he is still lurking in the bar somewhere. In one of the booths perhaps. I check to see that he is not crouching in one of the alcoves or hiding behind the pillar. I take a look in the toilets, the gents and the ladies several times. I make my way outside and wander up and down the street to make sure he has really gone.

The stranger comes in again the following day at the same time and once again orders a large Plymouth gin and bitters. We speak about GCHQ, rock formations and doppelgängers before he once again takes his drink over to the table by the window. Once again, I experience the same feeling of unease while he is in the bar without being able to explain why and the same feeling that he is still present after he has gone. When Jazz comes back from the printers, she notices that something is wrong.

‘I had a strange fellow come in,’ I tell her. ‘He spooked me a bit. …… But it’s probably nothing to worry about.’

She tells me about an offer they have at the printers on giclée prints. ‘They can do A3 posters for us for …..’

I am no longer listening. I have drifted off.

A pattern begins to develop. The stranger comes in every day at the same time. He always wears the same light-coloured suit. At no time does he introduce himself or explain his mission. He always orders the same drink, Plymouth gin and Angostura bitters. On each visit, he guides the conversation, changing the subject at will, without warning. We speak about cave paintings, psychiatrists, and remote viewing or, string theory, hot air balloons and Don Quixote before he takes his drink over to the window. He always takes the same seat at the same table. On the first few occasions, I entertain the idea that he is waiting for someone but no-one ever joins him. Perhaps he is looking out for someone on the street, not that many people pass this way unless they are coming into All About Jazz.

‘I can always tell something is bothering you, honey, by the music you play,’ Jazmin says, as we are locking up one night. ‘Do you realise you played Guy Bloke’s Improvisation for Balalaika, Bass Guitar and Strimmer three times tonight, all nineteen minutes of it? No wonder everyone was gone by half-past ten. What were you thinking?’

‘Did I? I must have been ….. distracted,’ I tell her.

‘You’ve been ….. distracted quite a lot lately. Sometimes I think we live in separate worlds.’

The same thought has occurred to me but I do not say so.

‘And we haven’t made love for nearly three weeks,’ she continues.

‘Is it really that long?’

‘Yes, it is that long. If I didn’t know you better, I’d think there was someone else. …….. Look! Let me know if I’m wrong but I think this strange mood of yours started when that weird fellow began to come in. The one you told me about who talks about NASA, Twin Peaks and rubber plants. Does he still come in every afternoon?’

‘Yes, he does, Jazz. 3:15 on the dot. But it feels like he’s here all the time, now. It’s as if he never goes away.’

‘Right! I’m going to be here tomorrow afternoon. I can easily rearrange my hair appointment and I can pick up the gilcée prints anytime.’

…………………………….

‘You told me he comes in every day at the same time. 3:15, you said.’

‘He has done for the last three weeks, yes.’

‘Well, my sweet, it’s half past three and he’s not here.’

‘Perhaps he’s been held up.’

‘Or perhaps made up. A figment of your over-active imagination.’

‘If you don’t believe me, have a look at the CCTV.’

‘I did. This morning. It wasn’t switched on.’

‘You’re probably doing something wrong. I’ll have a look at it later.’

‘But you have to admit you have been behaving rather strange lately. Perhaps you ought to see someone. There’s a new holistic ….. ‘

‘Give him a few more minutes. I’m sure he will be here.’

‘What’s his name? If you’ve been talking to him for three weeks, you must have found out something about him.’

‘He’s never mentioned his name. He talks about robotics, firecrackers and necromancy. Or …..’

‘California, cloning and black holes. I know. And you never bring any subjects of conversation up? Like, who are you? What do you do? Why do you keep coming into our bar?’

‘It doesn’t work like that. You’d have to be with him to realise how he can just take you over. He takes your will away, like a psychic vampire.’

‘Wassup,’ says a deep voice beside us.

It is N’Golo. N’Golo is an African drummer who sometimes sits in with bands here at weekends. He likes to drop by in the afternoon for a lemongrass tea. He is wearing a kaftan, brightly patterned trousers and jangling Berber jewellery.

‘Your djinn friend not here today then, bro?’ he says.

‘You mean gin, N’Golo.’

‘No. I mean djinn. Juju. The man in the white decks. That man is bad-bad.’

‘How can you tell, N’Golo?’ I say. ‘As you know, I am not one for a lot of mumbo jumbo.’

‘I just know, bro.’

‘But how? I get a bad feeling when he’s here. In fact, even when he isn’t here. But, I can’t explain it. And Jazmin here wants to know.’

‘Hear di smell. Many ways to sense it. Everybody is different. But it’s not how or why, it just is. He’s djinn, trust me.’

I have been reading up on jazz and it all began in New Orleans. The word comes from the Creole patois, jass, referring to sexual activity. In the late 19th century. European horns met African drums and jazz music was born. Jazz inherited all the magic of the African continent. The heart of darkness. Voodoo. Djinn. Juju. While the rest of America was stomping their feet to military marches, New Orleans started dancing to voodoo rhythms. It may be nothing. But voodoo, djinn, juju or whatever you want to call it and jazz are inextricably linked. And our bar is called All About Jazz. So, it should be all about jazz. We could educate people on the history of jazz. To the seedy jazz joints, dens of vice probably all of them. To the progress of the new music through Buddy Bolden, Nick LaRocca, Jelly Roll Morton. We could hold classes, workshops. We could bring people to the town to learn about jazz. The nuts and bolts of jazz. Its cultural constituents, the brass band parades, Mardi Gras, downtown Creole, dirty music, corner saloon dances. The nitty-gritty bare bones elements of Jazz that you do not find in the safe little bubble of Smooth Jazz. Smooth Jazz! Isn’t that an oxymoron?

Jazmin is less than enthusiastic about the idea. She thinks I’m going off on one. The Jazz that it is all about she feels is her. She wants it to stay that way. She insists it stays that way. It was her money that set us up, she says. She can be a bully at times. Oh well! Perhaps people don’t need to know where jazz originated or if they do they can just go online or read Casey Gasher’s book, Basin Street.

…………………………….

In moments of despair, one can fall prey to a mindset which tells you that the current set of circumstances has always been so and will always be so. But, this is not the case. Things do change. As the great mystic philosopher, Lars Wimoweh was fond of saying, change is the only certainty. After a few days of the tall stranger not showing, his presence, imagined or not, begins to fade. I no longer feel distracted. Mindfulness returns. I manage not to accidentally play Guy Bloke’s Improvisation for Balalaika, Bass Guitar and Strimmer or any other jazz track featuring a strimmer. I am able to start conversations on topics that I am interested in, rhythm, harmony, syncopation. I feel the sap rising. I manage to heal the rift with Jazmin in the nicest possible way. Things go swimmingly at All About Jazz. The Simon Somerset Quintet play a spirited Saturday night set and Giles Davis weaves his mellow magic on his muted trumpet through Sunday afternoon.

It is comforting to get a bad episode out of the way. Jazz thinks so too. She feels it is good that I’ve got a grip and pulled myself together like her holistic counsellor, Ike Murlo said I should. My ….. difficulty was harming business, she says. Little by little, Jazz begins to trust me to hold the fort in the afternoons once more.

But although Ike Murlo tells me that the crisis has passed, that I’m over the worst, sometimes I seem to still be visited by lingering uncertainty. That nagging doubt that surrounds an unresolved mystery. I realise I should know better but each time I am outside having a smoke, and I catch a glimpse of a tall figure in the distance, I imagine it to be the dark stranger in the light-coloured suit coming to get me. Suddenly, nearly everyone in town seems to be above average height and be dressed in light-coloured suits. Ike Murlo tells me that such a frequency illusion is quite common and even comes up with some numbers to back it up. Apparently, it is known as the Baader-Meinhof Phenomenon. It does not help to be aware of this. And sometimes even the ones who dress normally now come across as suspicious, I tell him. He assures me this will pass, but just in case perhaps I should see him twice a week.

…………………………….

Jazmin has gone to pick up some posters for the summer jazz extravaganza we are planning. I did try to get her to book Guy Bloke as a headliner but she thinks he is too avant garde. Well, you can’t have everything. I’m sure that Guy doesn’t mind too much. He has plenty of other gigs lined up. Meanwhile, I am relaxing in the bar. Suddenly aware of someone in my space, I look up from my Philip C. Dark thriller. He is not the usual type that we get in mid-afternoon. He is wearing an oatmeal checked three piece suit but his coarse features do not go with the suit. They belong to someone from out of town, a long way out of town. Over the hills and far, far away. The chimerical stranger makes a remark about the music that is playing in the background, Scott Walker’s Tilt. Not everyone’s cup of tea, I realise, but I find it relaxing. He orders a pink gin.

‘That’s gin and Angostura bitters,’ he says. As if I didn’t know.

He starts talking about …… CCTV cameras. He seems to know a lot about them. I am still trying to get a grip, mumbling incoherently as the conversation moves on to necromancy and The Twilight Zone.

Hat Band

May 16, 2017May 21, 2017 ~ Chris Green ~ 3 Comments

Hat Band by Chris Green

A jazz musician making his way down an Exeter street on a Wednesday morning with a charity shop bag full of bargain books can hardly be blamed for failing to notice that he is being tailed by a tall, thin man in a dark overcoat. Musicians are more accustomed to being looked at than looking, a matter which helps to explain why the thin man in the dark overcoat has been able to keep an eye on Max Tempo’s movements unnoticed for a day or two. Max is simply not aware that there is anything untoward in his world and why would he be? His quintet has a full diary of bookings, the promise of a recording contract and he has the beginnings of a new tune in his head. This is what preoccupies him as he approaches RAMM in Queen Street, where he feels he might drop in and have a cup of tea and sketch out the chords of the new tune on the pad he carries around with him. Maybe afterwards he can have a look at the paintings in the new exhibition by the modern artist whose name temporarily escapes him. Belinda mentioned him that morning over breakfast. Portraits assembled from cut up phone books or something like that, she said.

Max Tempo is not even curious when he catches the tall, thin stranger casting furtive glances from the corner of the café in RAMM, where he is enjoying his lemon polenta cake. The man probably recognises him from one of his gigs. This happens all the time. People are just too shy to come over and say they enjoyed the set. Or, is he merely admiring his brightly coloured African blazer and striped Jazz cap. It does register with him however when he encounters the same stranger waiting outside the gents toilet, but he does not give this a second thought. After all, there are gay men everywhere these days.

‘I wonder who that fellow in the black Jaguar is,’ Belinda says, looking out of the bay window of their townhouse. ‘He’s been sitting there all afternoon.’

‘Probably broken down or something,’ Max says. Max is working on the arrangement for his new tune on his iMac. The piano part is coming along well but the guitar part is proving trickier than he first thought it was going to be. This is the trouble when you try to put in too many minor chords.

‘Now I come to think of it, he was there yesterday afternoon too,’ Belinda says. ‘When I came back from the leisure centre. I noticed it because it’s quite an old car, isn’t it? Fellow in a dark coat and hat with his head in Jazz Weekly. Peering over the top of it, he was. I remember the banner headline Big Fifties Jazz Revival. I thought he must have been a friend of yours. There were some instruments in the back of the car too. Saxophones, I think.’

‘Perhaps he’s with Green Flag,’ says Max, who has not been listening. ‘They are pretty slow in coming out.’

‘He keeps looking over this way, Max.’

‘You want me to go and ask him what he’s doing, is that it? Perhaps I should invite him in for a tea and cake. Maybe, he can stay for dinner.’

‘No need to be like that, Max.’

‘I’m trying to finish this tune, Bee.’

Max feels It is always a good idea to open the set with a good old jazz standard. So, at Cool for Cats, the Max Tempo Quintet open with Goodbye Pork Pie Hat. As he looks around, Max feels pleased that there is a healthy turnout for a weekday, a couple of hundred perhaps, a good mix of all ages, couples and singles, a few gays and a few hipsters thrown in. So, Max feels they might try out the new number, now that Buck has put in the new guitar part and Bram has the tenor saxophone solo worked out. Max has given it the working title, Borsalino.

The band’s set, featuring highlights of their own material along with reworked standards, goes well. There is a good response from the audience to the new number. Although it is sometimes difficult to see everything that is going on from behind the piano, during the last few numbers, Max can’t help noticing that there are two men with no rhythm dressed in dark vintage overcoats sitting at a table towards the back. Alongside the revellers, they seem oddly out of place and out of time. As Max leaves Cool for Cats after the set, humming a new tune that is coming to him, he finds the same two men are waiting for him by his car. Is that a Fedora the one pointing the gun is wearing?

‘Nice and easy now!’ the other one, the stockier of the two says, stepping out of the shadow.

Definitely a Trilby, the stocky one is wearing, thinks Max. Wait! He’s also got a gun. What’s happening to people in this sleepy corner of the country? It’s always been so peaceful and laid back down this way. The Max Tempo Quintet have been able to get away with more slow numbers here than anywhere else in the country. You wouldn’t be able to follow Misty with The Nearness of You in Bristol or Swindon.

‘You are coming for a little ride with us,’ Fedora says, without the menace you might expect from a seasoned gunman. He ushers his Max towards a Jaguar with blacked out windows. Against his weak protests, he is bundled into the back. Without ceremony, Fedora and Trilby get in and the car speeds off.

………………………………

Ella Valée plays jazz singer, Liv Golden in the long-running television series, High Tide. In case you’ve not seen it, High Tide takes place over an indeterminable time frame and is set on an imaginary island where nothing is what it seems. When Ella is snatched from the set at Shepperton during filming by two thugs with bad manners in dark suits and nineteen fifties hats, she takes it to be an unscripted development in the plot. Surprises like this often take place in High Tide. Director, Leif Velasquez does nothing in a conventional way. Uncertainty, he says, keeps actors on their toes. The series plays around with alternate realities, multiverses, sadomasochism and jazz. A typical episode of High Tide will feature flashbacks and flash-forward sequences, secret agents, doppelgängers and speaking dolphins. Liv Golden usually gets to sing a number or two, in a carefully selected hat. This is one of the regular features of the show, probably the only regular feature the show.

Ella Valée first begins to suspect that something might be wrong on the silent drive away from the studio in the big black Jaguar. Neither the stocky gangster in the Trilby who forces her in at gunpoint or the long, lean one in the Fedora has anything to say. It would be unusual, she thinks, to place such a protracted silence in a prime time TV drama. Not that the unusual phases Ella these days. She has learned that anything can happen shooting High Tide. But, why are they going so fast and where are the cameras? She looks around her. She can see none of the usual paraphernalia for filming inside the car and the vehicles that usually accompany them with kit for the shoot are nowhere to be seen. This is not something that is scheduled to happen. These goons are for real. They are abducting her.

For miles upon miles, the forbidding silence in the car persists. Why don’t the two goons speak, Ella wonders? They could at least threaten her or swap stories with one another about buying hats or gunrunning. She notices they are keeping to windy B roads. Back lanes these might be but she recognises the some of the place names. Stockbridge, Middle Wallop, Winterslow. They seem to be heading south west. It would help to have some idea what was happening. It’s not likely to be good but it would be helpful to know.

………………………………

Whichever genre of popular music, drums and bass represent the driving force of a band. There have been some great rhythm sections over the years. Depending on your proclivities. Max Roach and Charlie Mingus, Ginger Baker and Jack Bruce, or Sly and Robbie might be ones that spring to mind. Sticks Mullins and Bernie McCoy may not enjoy the same stature as the aforementioned, in fact, you have probably not heard of them but for years they have been the backbone of the jazz combo, the Zoot Norris Seven.

Sticks and Bernie are puzzled as to why two burly hoods should seize them in the middle of the day from the Pannier Market in Tavistock where they were innocently trying on hats and bring them to this big old house in the middle of Dartmoor. Questioning their captors on route about what was happening met with the cryptic, you’ll find out soon enough, sunshine. They haven’t. The hoods appear to have just dropped them off here and left them. Not a clue as to why they might be here. However with the doors triple-locked and the windows barred and boarded, they are unable to escape. Apart than this, it seems they have free run of the place.

Someone is tinkling the ivories in an upstairs room. They follow the direction of the notes and find a showy pianist playing a catchy jazz number on a Yamaha.

‘You need a bit of a beat behind that, bud,’ says Sticks. Secretly he quite likes it. Zoot doesn’t come up with melodious arpeggios like this.

‘And perhaps a nice hat instead of that bandana?’ says Bernie. ‘Something with a brim. And a hat band. How about a Panama?’

‘I’m Sticks and he’s Bernie, by the way,’ says Sticks. ‘Other than hat advice, we might be able to help you out with some drums and bass.’

‘That’s what we do, bro,’ says Sticks. ‘I’m drums and he’s bass.’

‘Cool!’ says Max, surprised but pleased by the intrusion. ‘There’s a string bass in the closet and a set of drums.’

‘Seriously?’ says Bernie.

‘And a cupboard full of saxophones along with a trumpet or two,’ says Max.

‘Really?’ says Bernie. ‘All we need now is a chanteuse,’

‘I can be your chanteuse,’ says the beguiling woman in the wide-brimmed pink hat who seemingly appears out of nowhere. ‘I’m Ella Valée.’

‘I bet you are, babe’ says Sticks.

‘Very droll, Casanova. Ella Valée is my name. You may have seen me in High Tide. I play Liv Golden, the jazz singer.’

They begin to share stories about being picked up off the streets by hoodlums. Max Tempo and Ella Valée it transpires have been at the house for two days. They too were just dumped there. ‘Wait for developments,’ they were told and then left to their own devices. Both were a little frightened at first when they found the doors and windows barred. But, they discovered running water, food, electricity, musical instruments and even some recording equipment, not exactly state of the art but even so, serviceable. Certainly, a better state of affairs than you might expect after being abducted. They even found changes of clothes and toothbrushes. So, instead of thinking of escape, they settled in. There are no phones of course. The captors took away their mobiles. Max hopes that Belinda isn’t worrying too much but he imagines she will be and Ella, if she is honest, is glad of a break from her fiancé, Brad. Brad has become a bit serious of late, she feels, and she’s not sure she’s ready for that level of commitment.

‘Why do you think these geezers have brought us all here then?’ asks Bernie. ‘And who the fuck are they?’

‘Exploitation,’ says Ella. ‘They must think they are going to get something out of us. Some kind of performance or product.’

‘The music business is a more cut-throat game than it was back in the day, for sure’ says Max.

‘Agents in the music business all behave like gangsters these days,’ says Sticks. ‘Managers and promoters too. Crooks, the lot of them.’

‘But, the geezers who brought us here are a throwback to the fifties,’ says Bernie. ‘They are wide-boys, spivs, whatever you want to call them.’

‘Perhaps they have brought us all here to form some kind of retro band,’ says Sticks. ‘Apparently, vintage jazz is making a comeback. I read about it in Jazz Weekly. And they’re keeping us prisoner here to cut some tracks and make some money for them. That’s what I reckon.’

‘Bit of a longshot though,’ says Ella. ‘We’ve not even played together.’

‘But they would have seen you sing every week in High Tide,’ says Bernie. ‘So not completely a longshot. And clearly, they’ve seen Max play. And the dude’s damn good.’

‘I already have a band,’ says Max. ‘The Max Tempo Quintet. And we’re doing pretty well. We might even have a record deal. Clint Snider of CPS Recordings should be in touch any day now. Come to think of it, he was supposed to get back to me last week. I probably missed Clint’s call through being here.’

‘We’re in a jazz band too,’ says Bernie. We’re the Zoot Norris Seven.’

‘Sorry, I don’t think I’ve heard of you,’ says Max.

‘I guess Zoot’s not that ambitious,’ says Bernie. ‘But we get gigs locally. The Nobody Inn and The Jolly Yachtsman last month. And we’ve had one or two good reviews.’

‘Hey! Look at the name on the bass drum,’ says Sticks. ‘Hat Band! It’s all beginning to make sense now.’

‘What?’ says Max.

‘Don’t you see, fellas?’ says Sticks. ‘Bernie is right. Those rogues are setting us up as Hat Band. What kind of name is that?’

………………………………

‘Do you really think those bozos will make us a million?’ says Frankie.

‘Of course, Frankie,’ says Duke. ‘No doubt about it.’

‘It’s just that I’m not sure that many people watch High Tide so they may not know who Ella Valée is.’

‘You worry too much, Frankie.’

‘Also, I think that the pianist might be a fairy like that Elton whatshisname.’

‘It hasn’t done Elton whatshisname any harm, has it?’ says Duke. ‘Anyway, this is jazz we’re talking about. Jazz isn’t about image.’

‘I know that, Duke. Jazz is all about the music.’

‘And, fifties Jazz is going to be the next new thing, remember.’

‘I guess you are right, Duke. We are due a bit of good luck, aren’t we?’

‘Luck’s got nothing to do with it, Frankie. Certainly you have to be able to take advantage of a situation. But, it’s all to do with calculation and confidence. But, with a name like Hat Band, they can’t fail. …….. I wonder who the original Hat Band were.’

‘We’ll probably never know, will we? But it was dead lucky you came across that job lot of their instruments, Duke. By the way, how did you know that big old house on Dartmoor was empty and the owner was away in Japan?’

‘I keep my ears open, Frankie.’

‘The best bit was you coming up with the toy guns, though, They all really went for it. Scared the living shits out of them.’

‘Shall we finish our drinks and go back and see what they’ve got for us? They are bound to have got a number or two by now. We’ll tell them they need to have enough tunes for the album before we let them go. Got your gun, Frankie?’

Rainy Day Women

February 2, 2017February 5, 2017 ~ Chris Green ~ 1 Comment

Rainy Day Women by Chris Green

How many roads must a man walk down, wonders Dylan Song? He feels he has been trudging around the streets of Dalmouth for ages, yet he still can’t find the café where he is due to meet Frankie Lee. He seems to be going round in circles and getting nowhere. Perhaps he should not have left the car in the car park, then he would have been able to drive around slowly, keeping an eye out for the place. There seem to be a few streets without double yellow lines and at this time of year, plenty of spaces, so he could have easily nipped in once he had found the place. Or better still, he should have bought a map. To add to this, there is next to no wi-fi coverage here in Dalmouth. Why does he always imagine that things will be simple when they never turn out to be? Due to the nature of his quest, he could not use his phone to call anyone even if he were able to get a signal because of the security implications. Who is the Frankie Lee he has to meet, he wonders and why on earth are they meeting in the small coastal town of Dalmouth anyway? For that matter, who are the people he is working for? So many questions.

The early morning February drizzle has now turned to rain. At least Dylan Song had the foresight to wear his Drizabone overcoat. This will protect him against hard rain, torrential rain even. But, he can’t keep walking around hoping for the best. Maybe he took the name of the road down wrong or something. The thin man with the pill box hat selling newspapers outside the Tesco Metro looks as if he might be familiar with the area.

‘Do you know where Grand Street is,’ he asks?

‘Sorry, guv. Not heard of it,’ says the thin man. ‘Where is it you are looking for?’

‘The Bean Me Up Café,’ Dylan says.

‘No. That’s a new one on me,’ says the thin man. ‘You sure you got the right name?’

Dylan shows him the piece of paper that it is written on, along with the name of the street.

‘Don’t know it, I’m afraid, guv, but if you want a good cup of tea you could try the Silver Saxophone Café on Fourth Street.’

Surely there is not a café called the Silver Saxophone, he thinks. Does he mean the Silver Kettle, perhaps? Anyway, he doesn’t want a cup of tea. He wants information from someone called Frankie Lee.

He asks two rain-drenched women waiting in the queue for the Number 2 bus and the man in the trench coat selling The Big Issue outside of Peacocks but none of them have heard of Grand Street or the Bean Me Up Café. Dylan thinks it would be a good idea to try the library. He can log on to a computer there to find what he is looking for. But, he finds that since the cuts, Dalmouth Public Library is only open on Tuesday morning and Friday afternoon, and it is Thursday. A pretty poor service, he thinks, for a town of 12,000 people. It suddenly occurs to him that he may have even got the name of the town wrong. This might explain why he cannot find The Bean Me Up Café. As he recalls, he did take down the details in a hurry. It would be an easy mistake to make. There are several rivers coming down from the moors, each meeting the sea at a town ending in mouth. Might it be Drainmouth he is looking for? On the Drain estuary, Drainmouth is just fifteen miles along the coast, just past the historic village of Touchwood.

Apart from being a favourite place for invasions in years gone by, Drainmouth is mainly famous for its annual Jazz Festival which takes place each February. Out of character perhaps for the otherwise sleepy town, the festival attracts some of the bigger names in international jazz. As Dylan drives along the coastal road he sees advertising for the festival everywhere, banners, posters and roadsigns. The local radio station is broadcasting live from the event. Today is the first day. The headliner is Belgian saxophonist, Toussaint Thibault and at the weekend, The Milton Chance Quintet are playing.

His worry now is that when he finds Bean Me Up, he is going to have missed the rendezvous. He was supposed to be meeting Frankie Lee at 11 and the midday news is now coming on the radio. As he drives across the road-bridge over the estuary into Drainmouth, his phone springs into life. This is the first time he has had a signal today. The area has the worst coverage in the whole country, the chatty traffic control officer told him when he picked up his car. One after another, a dozen or so messages ping. He decides these can wait. He is still looking out for Grand Street, when a call comes in. It is not a number from his phone contacts but he takes the call.

‘Jones here,’ says the voice. He cannot recall having heard Mr Jones’ voice before, yet somehow it is familiar. It sounds muted, as if it is coming from far away. But at the same time, it seems very close. ‘I’ve just had Lee on the phone. I’ll overlook the breach in security for now but where in God’s name were you?’

‘Mix up with the towns,’ says Dylan Song. ‘I am in Drainmouth now, on my way to the café.’

‘Well, Song! Let’s get down to it then. Time is of the essence. We know that there is a jazz festival taking place in Drainmouth but some other very strange things are also going on. Your mission is to find out what these are, how they might be connected and who or what is behind them. Lee has the details. She will assist in anyway she can.’

She? Did Mr Jones say, she? He had assumed that Frankie Lee was a man.

‘You’ve got that, then,’ says Mr Jones. ‘You’re on to it.’

‘Yes, I think so. Something is happening and you don’t know what it is,’ says Dylan Song. ‘Do you, Mr Jones?’

‘Exactly!’ says Mr Jones. ‘Now I’ve told Lee she has to wait at The Bean Me Up Café until you get there, so get your arse down there PDQ. And no more slip-ups.’

He parks the car and takes a look at the street plan in the car park. Grand Street is close by and fortunately, the rain has stopped. Although it is still early in the day, there is a bustle about the place as animated groups of colourfully dressed people file through Drainmouth’s higgledy-piggledy streets.

Dylan Song finds Frankie Lee at a table outside the Bean Me Up Café. Her table is under a striped awning and sheltered from the rain. She is drinking a posh coffee, a doppio ristretto or something. Although they have not met, he realises who Frankie is straight away. He was told to look out for a blonde and this woman is blonde but she also has that mystifying blend of charisma and aloofness that you find sometimes with people working in covert operations, that unexplainable curiosity and otherness that makes for a successful psi investigator. In a word, she seems like someone who can find things out. Dylan Song orders a banana pancake, sits himself down and introduces himself.

‘So, what’s it all about,’ he says?

‘You are familiar with jazz and its characteristics, I take it,’ Frankie Lee says.

‘I have a few Bill Evans CDs,’ he says. ‘And the odd tune by Miles Davis, but I wouldn’t say I was an expert.’

‘Jazz is, of course, a broad church but basically, it uses syncopation,’ Frankie continues. ‘Rhythmic stresses are placed in the music where they wouldn’t normally occur. Improvisation and deliberate distortions of pitch and timbre make the music unpredictable. Jerky and smooth at the same time if you like. This is kind of hard to get your head around but it looks as if jazz might be spilling over into real life here in Drainmouth.’

‘I couldn’t help but notice a little merriment and frolicking on the streets,’ Dylan says. Look at those guys over there. They are really going for it.’

‘That’s not quite what I mean,’ Frankie says.’According to the regulars at The Jack of Hearts, the tide didn’t come in at all last night.’

‘But it is a pub,’ Dylan says. ‘They probably had a lock-in to sing sea shanties or whatever it is

they do round here and had one or two too many.’

‘That’s as maybe,’ Frankie says. ‘But the landlord tells me the tide is coming in like a freight train this morning.’

‘He’s probably mad as a hatter.’

‘Maybe. But, there are other odd things going on. You may not have noticed it yet but all the clocks in the town have stopped. Now, this in itself might have a simple explanation if they hadn’t all stopped at different times. Take a look at your wristwatch.’

‘It has stopped. Five to twelve. That’s about the time I arrived here.’

‘Mine says 11:11.’

‘And look! The one in the café says 3 o’clock.’

’12:35 on that one. That’s about right, isn’t it?”

‘How long do you think we have?’

‘I don’t know. The traders at the market say it has been raining ……… time. Minutes and seconds falling from the skies, they are saying. Something is definitely wrong here.’

‘It is an odd place, isn’t it?’ says Dylan. ‘There are one or two mysteries for us to solve.’

‘But connected, wouldn’t you say?’

The barista brings Dylan Song’s banana pancake over. A familiar tune is playing inside the Bean Me Up Café. In a strange time signature. Dylan Song racks his brain but he can’t make out what it is and he feels it would be helpful to know.

‘You’d better be quick with that pancake,’ Frankie Lee says. ‘It’s time to go.’

As they leave to make their way through the town, they are sucked up into the carnival atmosphere. Jazz is playing everywhere. Dylan is overwhelmed by the confusion of tunes on offer. It is hard to separate one from another. He can even hear a Salvation Army band playing a Dixie tune. That’s the band, he thinks. Trombone, tuba, piano, bass, percussion. That’s the one.

‘Time’s up, Mr Jones,’ says a familiar voice. ‘Please, can you answer the question.’

The answer comes to him. ‘Rainy Day Women Numbers 12 and 35,’ he says. ‘The track on the album, Blonde on Blonde where Dylan uses a Salvation Army-style brass band is Rainy Day Women Numbers 12 and 35.’

‘Correct, Mr Jones,’ says the smiling host. ‘Congratulations! You have got all the questions right on your specialist subject, The Songs of Bob Dylan. You have won the South West Quizzer of the Year 2017.’

TIME OUT

December 29, 2016March 4, 2019 ~ Chris Green ~ 5 Comments

Time Out by Chris Green

The train has never been this late. It is nearly 10 o’clock. Max has been waiting for over an hour. He has been through nearly all of the Thelonious Monk selections on his iPhone. He may have missed something but so far as he can tell, there have been no announcements giving a reason for the delay. Before the departures display stopped working for some unexplained reason, it stated that the 8:39 to Broadchurch was on time. Thus, Max kept thinking it would soon be along. One or two trains going in the opposite direction have stopped at the other platform and a trickle of people have got on and off. Churston Stoney is not a busy station

Max is in no hurry. It doesn’t matter what time he opens All About Jazz on a Tuesday. Few people come in to buy anything so early in the week. For most, jazz seems to be primarily a weekend fascination. But, curiously, the handful of other passengers waiting on platform 2 for the 8:39 seem similarly unperturbed by the train’s delay. From time to time, one or other of them wanders up to the Take the Train poster to see if it provides a clue or feigns interest in the safety procedures notice but, in the spirit of train travel, each keeps his distance and avoids conversation or even eye contact with the others. The cordylines in their raised wooden planters have never attracted so many admiring glances.

Max is beginning to suspect that something may be wrong. There should be some news by now. There are no railway staff on hand to ask what the issue might be and the ticket office is on the approach to the other platform over the bridge. He takes his earbuds out and sidles up to the broken bench where a young girl in a purple duffle coat is sitting. She is probably a student, he thinks. At Broadchurch College. Positive Pathways, most likely. This would explain why she herself is not in a hurry to get anywhere. In fact, it’s probably a little early for her first class. Most of the students there don’t turn up much before lunchtime.

At Max’s approach, the girl’s fingers stop playing with her phone for a moment.

Max does not want to sound too hung up about the lateness of the train, but equally, he doesn’t want it to seem like he is chatting her up. He is more than twice her age.

‘Good tune?’ he asks.

She looks the newcomer up and down. She is wary of middle-aged men wearing striped linen jackets and Fedora hats thinking they look cool.

‘You wouldn’t like it,’ she says, taking her buds out. ‘Rat Boy. Probably not heard of him, have you, Granddad? It’s called Get Over It. Essex hip-hop.’

He seems undeterred by the offhand way she addresses him. Perhaps she should have just blanked him, she thinks, and turned her head. Now he wants to chat about trains. Is there an 8:39 train? What has happened to it? How would she know? She is happy to sit here until one comes along. She has nothing pressing to get on with. She is often the only one at her mime class, so it probably doesn’t matter if she attends or not. The world as she sees it is on her phone. This is where the important things happen. People of a certain age don’t seem to have caught on yet that there is no need for personal interaction.

‘I’m sure the train will be along soon,’ she says, turning her attention to the screen once more.

‘I manage a jazz shop in town,’ he says. ‘You might want to pop in sometime to see if there is anything you like.’

Why is he telling her this? Does she look like she cares?

In the nick of time, she is saved by another passenger coming along. This one seems happy to talk to Max about trains and timetables. The new arrival, she thinks, looks considerably more sinister than the other. Although it is Spring, he wears darkness like an overcoat. There is no mistaking that look of serious intent. It does not belong in her world. She puts her head down and gets back to her hip hop. Best to leave the two men to their concerns over punctuality.

‘I’m hearing that this section of the line is experiencing some unexpected temporal turbulence,’ the newcomer says. ‘A rupture in time, you might call it.’ He has that look of dark formality about him that Max notices when he visits his accountant. But despite his seriousness, there is something other-worldly about him.

‘A rupture in time?’ queries Max. ‘Is that an elaborate way of saying that the train is late?’

‘No. Not exactly,’ the shadowy figure continues. ‘While, yes the 8:39 is indeed late, it is on its way. However, you may notice some ……. differences.’

Detecting some activity, at last, other passengers have begun to gather around the two of them, curious to know what the new developments might be.

‘How are you getting this ……. information?’ asks the man in the ill-fitting beige zip-up jacket and the striped shopping bag who is probably younger than he looks.

‘Or lack of,’ adds the woman in the orange shell suit carrying a small child in a papoose.

‘Aliens landed in Westmallow this morning,’ says the man with the long hair and the Syd Barrett t-shirt, who has just arrived. This overshadows all the other comments and gets everyone’s immediate attention. Westmallow is just five miles away, in fact, the next station up the line.

‘Only joking,’ he adds. ‘Got you going, though, didn’t it?’

‘So tell us! When will the train be here?’ says Beige zip-up.

‘And what is happening?’ says Orange shell suit.

‘Just be aware that the train might seem a little strange today,’ says the shadowy figure. ‘I will not be travelling with you.’

With this, he takes his leave. They watch him aghast as he makes his way down off the platform and hotfoots it down the steps. No sooner has he gone than the train drifts into the station. It appears to be the usual two-car multiple unit that is used for this service with the usual shabby dark blue livery.

Max gets on and takes a seat. He glances around nervously, trying to spot anything that might be considered odd. The layout of the carriage is familiar. There is the usual amount of grime suggesting it might be due for a deep clean. The proportions of old and young, men, women and children are what you might expect at this time of day. In fact, Max recognises many of them. Not that he is in the habit of speaking to any of them, but they are regulars on the route. He decides to settle back and listen to a little Miles Davis. He finds Miles’s mellow mute is perfect for relaxation. He selects Miles Davis from the playlist. To his alarm, what he hears is not Miles Davis at all but some terrible hip-hop music. He glances at the cover art on the phone’s display. The track is called Get Over It by Rat Boy. How could this have happened?

Then he remembers. The girl in the purple duffle coat had been listening to Rat Boy. Perhaps she has somehow bluetoothed the tune to his device. He looks around for her, half expecting to see her somewhere in the carriage laughing, perhaps with Syd Barrett t-shirt sharing the joke, but neither of them is anywhere to be seen. He makes his way down the aisle and into the adjoining carriage. They are not there either. Did they not actually get on the train? The assumption is that passengers waiting for a train board the train but, at the time, he had been too pre-occupied with his anxieties to notice who did and who didn’t get on.

Puzzled, Max returns to his carriage. There now seem to be extra passengers. He is certain, well, almost certain. The lady with the bichon frise was not there previously. Nor the two soldiers. Sometimes the memory can play tricks, especially at times of stress, but surely he would have noticed the soldiers. Shouldn’t they have got off at Gunleigh, where the army base is? That’s two stops back up the line, no wait, three stops. The man in the mac is no longer there, nor the man with the Ronnie Wood haircut and the dark glasses who kept blowing his nose. He can’t see the man who was reading the book on string theory either. Max takes a look at his watch. 8:56. The train now appears to be on time. Proper time. Well, perhaps a few minutes late, but certainly no more than you would expect on a normal working day. Unless. ……….

The train passes through the Blackstone tunnel. This is definitely further back up the line. The tunnel is before you reach Gunleigh. How can this have happened? Max continues to puzzle over this as the train pulls into Gunleigh, where the soldiers leave the train. The train stays in the station for several minutes. There is no explanation for this and the restless murmur of conversation around the train reflects the growing frustration of the passengers. No-one seems to know what is going on.

‘I’m going to miss my connection,’ says the man in the mac. ‘If I miss it, I’m going to be writing to someone.’

‘I’ve got an important psychiatric appointment in Broadchurch,’ says the man with the Ronnie Wood haircut and the dark glasses, the one who keeps blowing his nose.

The man who is reading the book on string theory nods his head.

‘Insulting, the wait they treat us,’ says the man in the mac. ‘It never used to be like this.’

‘Not so much as a word of apology,’ says the man with the Ronnie Wood haircut and the dark glasses, who keeps blowing his nose.

The man who is reading the book on string theory shakes his head.

Max tries his phone to see if he can find out anything from the internet to explain what is happening but predictably, given the unusual circumstances, he cannot get a signal. He is struggling to work out what he might be doing on the train on this part of the route when he lives in Churston Stoney, which is still eight or so miles up the line, coupled with the fact that he remembers getting on the train at Churston Stoney, just now. To go to work. He is dressed for work.

Max closes his eyes and begins to count slowly from one to a hundred in French, German and Spanish, a distraction exercise he taught himself to overcome confused states of mind. Sometimes he uses this exercise to help himself get off to sleep after a busy weekend at the Broadchurch Jazz Festival. By the time he has reached ochenta y siete, it is ten past ten and the train is pulling into Churston Stoney station. To his amazement, there on the platform are the girl in the purple duffle coat with her head in her iPhone, the man in the beige zip up jacket with his striped shopping bag who is probably younger than he looks, the woman in the orange shell suit with the baby in the papoose, the man with the long hair wearing the Syd Barrett t-shirt and to his great horror, he notices the sinister man from earlier is just leaving the station, hot-footing it down the steps. To his greater horror, there by the cordylines in the raised wooden planters, he himself is, dressed in his striped linen jacket and his Fedora hat, carrying his leather work bag. Up until this moment, déjà vu had been just an expression that he had heard bandied about by people who, he realises now, had no comprehension of what it might feel like to really experience the trauma of it.

The train is soon on its way and hurtling down the line. For the benefit of those who boarded at Churston Stoney, the conductor apologises for its lateness. The delay, he says, was due to a giant clown on the tracks. He goes on to announce that the train will be stopping at Bymoor, Pitfield, Littlechurch and Broadchurch. The man in the mac and the man with the Ronnie Wood haircut and the dark glasses, who keeps blowing his nose are in Max’s carriage, along with the man who is reading the book on string theory. He has been joined by a man who looks a little like him, but is perhaps a little thinner. His lookalike companion, Max notices, is wearing a Heisenberg t-shirt and reading something called The Uncertainty Principle.

The girl in the purple duffle coat, who seems to have made a point of taking a seat opposite him says, ‘There was no need to copy that bloody jazz to my phone. It was terrible. How can you listen to it?’

‘What?’ says Max. He is still trying to imagine what could have possibly happened to his doppelgänger. Perhaps he is the doppelgänger.

‘That Duke of Wellington, or whatever he is called,’ says the girl in the purple duffle coat. ‘That Mood Indigo.’

‘Ellington, it’s Duke Ellington’ one or other of him says.

‘Whatever!’ says purple duffle coat.

This development suggests to Max that not only is there a rupture in time which is turning all rational thinking on its head but music is getting muddled too. Music and time makes him think of musical time. Musical time makes him think of Dave Brubeck and Time Out, the seminal album based on the idea of unusual time signatures, 9/8, 5/4, 6/4 and the like.

But, Max realises none of this explains what is really happening or why what is happening is happening. Reduced to its simplest form, he had a long wait on Churston Stoney station for the 8:39 train to Broadchurch, during which he had some unaccountable experiences, including travelling on the train that had not arrived. The train that had not arrived has since arrived and he is on it, again, possibly along with his doppelgänger and the other passengers who were waiting at Churston Stoney station, who have not previously boarded the train, with the notable absence of a mystery man who had maintained that something was wrong with the universe.

But, it’s all part of life’s rich pageant. What’s past is prologue. Max must move on. Take what comes and do what he can to have a say in this. This is as much as anyone can do. As the great novelist and jazz enthusiast, Haruki Murakami says, ‘don’t let appearances fool you, there is only one reality.’ But is this really true, Max wonders as his eyes are drawn once more to the man reading The Uncertainty Principle? As he recollects, the principle states that nothing has a definite position, a definite trajectory or a definite momentum. Trying to pin something down to one definite position will make its momentum less well pinned down and vice-versa. What about the other fellow, Max wonders, the one that is reading the book on string theory? Perhaps he would have an explanation for what is going on. String theory, as he understands it, proposes that the fundamental constituents of a nine or ten-dimensional universe are one-dimensional strings and not point-like particles. Thus, the universe that we are familiar with is not the only one; multiple universes exist parallel to each other. Any number of different realities then? He could, for instance, also at this moment be still waiting for the train at Churston Stoney, travelling on the train further up the line and travelling on a different train and in another dimension, he could never have been on a train in his life. Equally, the girl in the purple duffle coat and all the others might be on multiple trains or not at all. He decides it might be best not to talk to the fellow reading the book on string theory just yet.

‘Tickets please!’ says the conductor, making his along the aisle. ‘Anyone who got on the train at Churston Stoney.’

Max fishes around in his jacket pocket and finds that he has dozens of tickets. Baffled, he turns them over in his hand. The conductor eyes him suspiciously. Max glances once again at the man reading the book on string theory. Perhaps he does need to speak to him after all.