I was standing on the corner of St. Nicholas Avenue and 145th Street listening to Sonny Rollins play “Ev’ry Time We Say Goodbye” (The Sound of Sonny, 1957) when a hearse drove by. True story. Cross my heart &c. It was leading a two-car funeral procession, lights on, curtains drawn. On my headphones, Rollins was dying a little.
Or was he? The problem here is that when Rollins plays “Ev’ry Time We Say Goodbye,” it’s just so goddamn upbeat. He swings the hell out of it, stutters the first note of each part of the melody regardless of whether friend or lover is saying hello or goodbye, and then really opens up the horn for the last two bars—so much for that famous “change from major to minor.” I ask you: Is this man really dying a little? Even just a little? I think not. This is the bon voyage of broken champagne bottles and ships’ horns; that stutter is the bit of palpitation anticipating freedom, not return. With Rollins on the bandstand, that hearse was practically bouncing on its rims.
The man turned eighty the other day, you know. You have to wonder if he’d play it the same way—if he’d swing it even harder, say, or be moody about it, or contemplative, or rage against the dying of the light. Or all of the above.
A friend of mine used to have this song on his answering machine, a woman’s voice singing the first two famous lines with a shrill, wavering lugubriousness; then the beep—this back when you used to be able to mix your own answering machine messages on those micro-cassettes, in what I have elsewhere called the endlessly malleable analog world. Then came ring tones; long live magnetic tape. Waiting to cross, I watched that mini-procession wend up St. Nicholas Avenue, Rollins bouncing notes like tennis balls off my eardrums. I almost waved.