Evan Horne [02] Death of a Tenor Man

by Bill Moody

  DEATH OF A TENOR MAN

  An Evan Horne Mystery

  By

  Bill Moody

  Copyright 1995 by Bill Moody

  First Down & Out Books Edition: June 2014

  All rights reserved. No part of the book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.

  Down and Out Books

  3959 Van Dyke Rd, Ste. 265

  Lutz, FL 33558

  http://downandoutbooks.com/

  This is a work of fiction. Names, characters, places, and events are either the product of the author’s imagination or are used fictitiously. Any similarity to real persons, living or dead, events, or locales is coincidental and not intended by the author.

  Cover design by JT Lindroos

  For Helen Louise

  TABLE OF CONTENTS

  Death of a Tenor Man

  Bio

  Also by Bill Moody

  Other Titles from Down & Out Books

  Preview of Bill Moody’s The Sound of the Trumpet

  Preview of Vincent Zandri’s Moonlight Weeps

  Preview of J.L. Abramo’s Chasing Charlie Chan

  INTRO

  I’m looking at old photos, a collection of jazz history, a gift someone has given me in a well-meaning gesture, designed probably to help fill the silent hours of my recuperation. The coffee-table book is filled with black-and-white moments from an era never to be seen again. This photograph is of twin tenors, Dexter Gordon and Wardell Gray, taken at a dub in Los Angeles in the early ’50s, probably the Club Alabam or the Bird Basket. Central Avenue all the way.

  In this grainy framed moment, the photographer has caught Dexter in full flight, his huge body blocking all but the bass player’s bands, towering over the microphone and Wardell, who stands a few feet behind him. Gordon’s eyes are closed, his shoulders raised slightly, both bands gripping the born like he’s choking it, his face caught in a grimace as if the note he’s searching for won’t come out of the born.

  Behind him, ultra-cool Wardell, a baggy suit banging on his slight frame, a hat on the back of his head, looks on stoically. But when I look closer, a pencil-thin mustache is curled slightly upward as if a smile is about to begin. Was it something Dexter had just played, or is Wardell amused by Dex’s struggle to get that note out? Maybe he’s thinking about what he’s going to play. And what were they playing when this photo was taken? A blues? A standard? Maybe it was “The Chase,” their most famous collaboration, and Wardell is waiting for his turn.

  Wardell’s hands are crossed over the tenor saxophone that hangs from his neck strap. A cigarette is wedged between the fingers of his left hand. A wisp of smoke curls up around his eyes.

  The drummer, I think it’s Roy Haynes, is leaning forward, his right hand a blur on the cymbal. His eyes are wide open and there’s a white flash of teeth against his dark face. It’s not a smile exactly, more like an expression of euphoria. The pianist, who looks to be no more than a teenager, is looking toward Dexter expectantly, for approval perhaps. Both hands are locked on the keys. Who is it? Al Haig? The caption doesn’t identify all the band, just the date-1953.

  I close my right hand into a fist and unconsciously think about the rubber ball, then instantly remember I don’t use it anymore. It’s like remembering someone you were close to who is gone, and you haven’t come to terms with their absence yet.

  If I had been born thirty years earlier, maybe I could have been the pianist in the photo. I grew up in L.A., I was into jazz from an early age. Would I have hung out on Central Avenue like Art Pepper? What would that gig have been like? What would it have been like to know and play with Dexter Gordon and Wardell Gray in an era when personal sound was everything, an era before synthesizers and electric pianos?

  With Dexter, or Roy Haynes, it could have been possible. But our paths never crossed. Dexter was around until a few years ago after sixteen years in Europe, an Academy Award nomination for his role in ’Round Midnight, and scores of records. Roy Haynes is still playing better than ever.

  But with Wardell Gray there was no chance. He was gone two years before I was born, left to die mysteriously in the Nevada desert.

  And me? I hardly ever play the piano anymore.

  CHAPTER ONE

  “It happened right here,” Ace Buffington says. “At least, this is about where his body was found.”

  I’ve only been in Las Vegas thirty minutes, and already I’m bathed in sweat, wilting fast under the one hundred seven degree heat, standing in the middle of a vacant lot next to a convenience store. The scorching dry air beats down on us like some huge hair dryer.

  I shield my eyes from the glare with my bad hand. Ace, standing a few feet away, is no more than a tall shadow. The heat doesn’t seem to bother him. He came straight to the airport from the courts, dressed in tennis clothes.

  “How can you be sure?” I ask.

  “Well, I’m not really,” Ace admits. “There’s been a lot of building since 1955, but the Moulin Rouge is not far from here. It certainly could have been here.”

  By now I thought I’d be in an air-conditioned house, sipping on a Henry Weinhard or floating in the cool, soothing relief of Ace’s swimming pool. Instead I’m standing in the middle of a vacant lot Ace thinks is the murder site of an all-but-forgotten jazz musician named Wardell Gray, a tenor saxophonist whose big sound and tone belied his skinny body.

  There’s no historical marker here though, no weathered sign that reads “Wardell Gray died on this spot, May 1955.” Dirt, sand, and scrub weeds, a patch of desert strewn with fast-food wrappers, drink cups, bottles, even an abandoned truck tire, is all that’s here.

  “Ace, that was thirty-seven years ago.”

  “I know, I know,” Ace says. He walks closer, his enthusiasm undiminished. “But this could have been it.” He points to a spot on the ground.

  There’s a tinge of sadness, even romanticism, to his voice that I understand. A devoted fan, record collector, and occasionally historian, Ace is intrigued by the legendary figures of jazz. The only memorial to Wardell is a legacy of out-of-print albums and some reissued CDs. “Imagine, Evan, Wardell Gray found out here.”

  I shake my head, listen to the traffic noise filtering down from the expressway behind us, and watch the steady stream of cars pull in and out of the convenience-store parking lot fifty feet away.

  “I’m trying to, Ace.” My shirt is sticking to my body, and I can feel droplets of sweat running into my eyes. “Can we go now?”

  “Sure,” Ace says. He thrives on the heat, plays tennis no matter what the weather is, and subscribes to the theory of all locals that this is hot, but it’s dry heat.

  We climb back into his red Jeep Cherokee. Seconds later the soothing cold air from the air conditioner is blowing in my face. I take one last look at the vacant lot and wonder why I agreed to come to Las Vegas in July.

  The last time I was up for the Lonnie Cole investigation, interviewing country singer Charlie Crisp at the Frontier—my debut as a detective. That turned out reasonably well, at least financially. Lonnie Cole is still in jail; I saved Charlie Crisp a considerable sum of money. Now, I was going to see if I could play piano again. That and Ace are two reasons I’m in Las Vegas.

  I watch Ace drive. Both hands on the wheel, shoulders hunched forward, the bucket seat barely able to accommodate his huge frame. His face is burned brown, and there’s a light sheen of perspiration on his forehead. I try to imagine him at a podium before a class of UNLV undergraduates, lecturing on literature. Ace looks noth
ing like an English professor. Over there, he’s Dr. Charles Buffington.

  While we wait at a traffic light he looks over, slaps my shoulder, and grins broadly. “Evan, great to see you.”

  “You too, Ace. How’s the backhand?”

  “Never better. Just went three sets with a history prof before I picked you up. How’s your hand?”

  We both glance at my right wrist as I flex my fingers. Except for two tiny scars, there are no other visible signs. The surgery was long ago, and I’ve stopped carrying around the rubber ball I used to squeeze for therapy.

  I close my fingers into a fist. There’s only a slight twinge of pain now. “We’ll find out soon enough,” I say.

  Ace nods and heads the jeep onto the expressway. The Strip skyline is on our left. In the distance, I spot the first hint of a pyramid.

  “The Luxor Hotel,” Ace says, noticing my gaze. “They’re even going to have a scale-model sphinx in front of it.”

  Ace exits at Flamingo, just past a sign for the University of Nevada Las Vegas. “How are things in academia?” I ask.

  “Oh, you know. English-department election, new chair, petty politics, professors jealous of each other’s publications, and the NCAA is still after Jerry Tarkanian. Business as usual.”

  A few miles farther west Ace turns into the Spring Valley area, a part of Las Vegas most tourists never see. It could be Phoenix or Scottsdale or any Southwest city with its shopping centers, supermarkets, gas stations, fast-food places, and ranch-style homes. Ace turns off busy Spring Mountain Road and guides the Jeep through a residential neighborhood. He pulls into the half-circle drive in front of the house that will be my home for the next few weeks.

  We grab my bags, and I follow Ace around the side of the house, down a long walkway. It’s a rambling one-story ranch-style, surrounded by trees and shrubs. In back is a self-contained apartment originally added for Janey’s mother, complete with wrought-iron security gates on the doors and windows.

  “Not my idea,” Ace says, noticing my frown as he unlocks the door. “Janey was always worried about burglars. Her mother was worse.”

  I nod silently. The death of a loved one is always tough, and it’s still an open wound with Ace—barely six months since his wife was shockingly and swiftly ravaged by cancer.

  “Well, here we are,” Ace says. “I’m sure you’ll be comfortable here, and you can come and go as you please.” The two rooms and kitchen are furnished with castoffs from the main house, but Ace has thought of everything. There’s a small TV, stereo, and a refrigerator well stocked with Henry Weinhard, cold cuts, and a pound of gourmet coffee. I’m genuinely touched as Ace hands me the keys.

  “Of course, you know about the piano in the house. Use it whenever you want. The phone is a separate line, and, well, just make yourself at home. I serviced Janey’s VW so you’ll have some transportation.”

  We walk outside to the patio and pool area. “That’s what I want first,” I say looking at the still, blue water shimmering in the fierce sun.

  “You got it,” Ace says. “I’ve got some papers to grade, but how about I throw a couple of steaks on the grill later?”

  “Sounds great.” There’s a momentary awkward silence as memories of Janey, my accident, and a long friendship pass between us. “Look, I really appreciate all this, and the gig of course, it’s-”

  “Hey, forget it,” Ace says, holding up his hand. “You may not like playing for shoppers, and I’ll be glad for the company. Besides, you’re going to help me.”

  “Help you? With what?”

  “Solving Wardell Gray’s murder.”

  Refreshed after a quick swim, I pop open a Henry Weinhard and think about Wardell Gray. I load the tape player with one of the cassettes Ace has left me, and suddenly it’s the ’50s again. Wardell and Dexter Gordon, two of the great tenor players in jazz, sparring with each other in a tune appropriately titled “The Chase.”

  It was a hit on jukeboxes across America. Wardell and Dex got a lot of publicity but only a hundred dollars apiece for the record. Dexter went on to New York and eventually Europe for a stay of sixteen years. When he came back, his career went into high gear. He was “rediscovered” by American audiences and nominated for an Academy Award for his portrayal of an exiled American jazz musician in the film ‘Round Midnight. Wardell Gray wasn’t so lucky.

  After stints with Count Basie and Benny Goodman, Gray came to Las Vegas with little notice as a member of Benny Carter’s band for the opening of Moulin Rouge, the first black hotel-casino in Las Vegas. He died the second night. His murder—it was never officially called that—has never been investigated to anyone’s satisfaction.

  Like everyone else, I know only the unofficial accounts, the myths that pop up in the jazz world when one of its own dies suddenly. A known heroin addict, Wardell was found in the desert, the apparent victim of an overdose. Many people thought there was more to it than that, but in those days the police in Las Vegas didn’t think the death of a black junkie jazz musician warranted much of an investigation. They probably wouldn’t today, either. There were other theories about Gray’s death, but no one wanted to talk about them, and that’s all they were—theories.

  I decide on a shower, then stretch out on the couch, letting the hum of the air conditioner lull me to sleep. In what seems like only minutes, Ace is tapping on the sliding glass door. “Hey, Evan,” he says, “these steaks are almost ready.”

  “Be right with you.” I shake off the nap, throw on some shorts and a T-shirt, and join Ace just as he’s pulling two T-bones off the grill.

  “Too hot out here,” Ace says. “Let’s go inside.” We settle in at the kitchen table with the steaks, large baked potatoes, and a tossed salad. The steaks are tender and juicy, marinated in some mixture Ace has concocted. We wash it all down with a couple of beers. Later, with plates pushed aside and coffee brewing, Ace fills me in on his plans to research Wardell Gray and the Moulin Rouge, and why he needs my help.

  “I’m doing an article for a popular culture journal,” Ace says. “There’s a conference coming up in September where I’ll present the paper. My colleagues frown on it, but I get credit and it’s a helluva lot more fun than rehashing nineteenth-century fiction.”

  Ace has two books to his credit: one is a study of Charles Dickens, the other an argument that Herman Melville stole the plot for Billy Budd from Nathaniel Hawthorne. I really tried, but I had trouble getting through either of them. I’m convinced they were mostly the result of the publish-or-perish syndrome that keeps him alive in academia.

  “Is this article just about Wardell?”

  “Not really,” Ace says, warming to the subject. He pours us two mugs of coffee. “A number of jazz musicians have met rather untimely ends. Clifford Brown and Bud Powell’s brother Richie were killed in a car crash. Lee Morgan was shot at Slugs in New York City, Albert Ayler was found in the East River. Supposedly a suicide, but he was handcuffed—hands behind his back. Wardell is another story. I’m sure it probably was a drug overdose, everyone agrees on that, but what was he doing in the desert, and how did he get there?”

  Good point. A hotel room would be more likely, or an alley behind the Moulin Rouge. “So where do I come in?”

  Ace opens another beer. “There are a couple of old-time musicians still around here, but they’re not likely to talk to me, at least not very freely. You, Evan Horne, a musician; on the other hand, have some immediate common ground. There’s also another lead, a dancer. She’s in real estate now, but she was one of the chorus line girls at the Moulin Rouge when it opened. I tracked her down through a newspaper reporter friend, but when I told her what I was doing, she clammed up. Really strange.”

  “Did she say why?”

  “No, just that she was sorry, she didn’t remember or know anything about Wardell Gray. I don’t see how that’s possible.”

  I sip some coffee and light a cigarette despite Ace’s frown. “Okay if I smoke?” Ace just shrugs. “I know, I know, whe
n am I going to quit. Well, sounds like you have some good leads, but maybe there isn’t anything to tell. Some people prefer to keep the past just that.”

  Ace shakes his head. “I don’t buy it. She sounded as if I were asking about something that happened last week. It’s been more than thirty-five years. Maybe I’m imagining it, but I swear I heard fear in her voice. At the very least she was uncomfortable. Anyway, what do you say?”

  I have to admit it’s intriguing. The gig, if I stick with it, won’t take up much time, and helping Ace would give me something to do. But two voices are arguing in my head. This sounds too much like investigating, and once was enough. In trying to help Lonnie Cole I’d been beaten up, nearly killed, and, in the end, betrayed. But the other voice is saying, Relax, this is the past. How could that get you into trouble? Sometimes the wrong voice wins. “Hey, why not, I’ll give it a try.”

  “Great,” Ace says, beaming at me. “I’ll get you the names of the musicians. You can find them at the Four Queens most Monday nights. Alan Grant still has the only game in town as far as jazz goes. There are some clipping files on the Moulin Rouge at Special Collections in the campus library. I’ll pave the way there.”

  “What about the dancer?”

  “I’ve got a number for her. I’ll leave it to you as to how to contact her.” Ace smiles. “Maybe we’ll get lucky, and she’ll find you.”

  Who knows, maybe she will. This is the first gig I’ve had in a shopping mall. “By the way, Ace.”

  “Yeah?”

  “What are you calling this article?”

  He grins and looks like he’s been waiting for me to ask.

  “Death of a Tenor Man.”

  CHAPTER TWO

  Brent Tyler is curly blond hair, white shirt, tie, and suspenders holding up expensive trousers. He probably has a BMW parked outside to go with the cellular phone tucked in his hip pocket. He has a clipboard in his hand, so already I don’t like him.