Hye-jae: Book 4

New Orleans Adventures Part 24

The blistering bayou heat seemed to shimmer upon the street surfaces, as they left their shady shelter and made their way to the state museum that had been recommended on so many tourist sites as the very best place to get a true sense of the birth, growth and influence of jazz - that quintessential American art-form.  Almost as soon as they entered the impressive porticoed building - once the home of the US Mint - they were drawn to the astonishing artefact which was the first cornet played by the great jazz pioneer - Saatchmo - the incomparable Louis Armstrong.

Both were very aware that a most wonderful night out for their first anniversary, in Sligo - the location of their wedding - had included a special dance to a recording of Saatchmo and Ella, performing The Nearness of You and they looked to each other, knowing that the other's thoughts were identical to their own.

The couple stood, in veneration of the battered, mis-shapen brass instrument: 'isn't fate funny?'

Seon-jae turned to look at his sweetheart, her profile so perfect to his eyes: 'how so, love?'

She turned her head to catch him mid-muse and her wry grin told him that he had been rumbled but she found his adoration beguiling: 'well, if he hadn't been arrested at the age of 9 and sent to an orphanage, he might never have learned to play brass or become a musician.'  What a loss to music that would have been.

Seon-jae nodded slowly: 'true, sometimes tough times happen for a reason,' and they both mused on that for a while, remembering their own tough times when a series of half-truths and mis-understandings had led to the accident which had damaged Seon-jae's right hand and reduced him to a left-handed pianist for a few weeks.  And though that trauma had seemed so misfortunate at the time, dealing with the pain and the impact on his playing had actually helped to bring the couple even closer, which had been a huge boon during the long and arduous birth of Hye-jae and the not-so-long but just as arduous birth of Seon-won the following year.

Seon-jae shook off his introspection and gallantly held out his elbow from his side: 'may I escort you, my lady?' which drew a smile from his lady, as she linked her arm in his and they set off together to learn about, not just the evolution of this extraordinary art form - in this diverse and cosmopolitan city - but also to view an enormous instrument collection, listen to recorded music through the ages, view costumes and masks from the world-famous Mardi Gras Carnival, as well as paintings and art works from the region and Seon-jae proudly escorted his lady through it all and both were utterly content in each other's company.

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Hours later, the couple emerged from the museum to the definitely cooler - though still balmy - streets.  They first viewed the iconic Karnofsky Tailor Shop - where Armstrong had lived and worked for a time - and then ambled along the well-known Frenchman Street, where live performers drew an enormous footfall of visitors and locals.  The couple weaved in and out among the astonishing array of practised talent, raw skill and plain swagger, here and there stopping to give their attention to a performer or a group, many surrounded by swaying, clapping, singing crowds.  As well as the expected brass band groups, there were many less conventional acts.  Seon-jae was really struck by a young boy of about 9 or 10, who had set himself up on top of a set of steps and, in the seasoned tones of a much older performer, hailed all who would listen, in a sing-song call - Mister, Mamma, from Cuba, Holland, France, pay me dollar to see me dance.  Many took up his challenge and then the fun started, when he would gyrate as though there were no solid bones in his body, clicking his fingers, slapping his thighs and thumping his feet, while singing snatches of rhythmical tunes at exceptional volume.  He was magnetic, energetic, impossible to ignore and doing a brisk trade in donations, to which Seon-jae was happy to contribute.