I last heard the song in 2009. It was at the Satchmo Club Strut, a Friday night Frenchmen Street half-bar crawl, half-street party sort of thing that for a number of years ran before Satchmo Summerfest, the weekend festival honouring the life and music of Louis Armstrong. This was in Blue Nile, and Irvin Mayfield was playing it.
Mayfield said it was from a film, the name of which I didn’t catch. In this film, a male trumpet player, it seemed to the musician’s teenage self, had the most amazing life: women, money, song. It was, Mayfield said, the song that made him want to be a jazz musician.
I remembered all that and the tune of the song itself. I didn’t, however, remember its name. This is unusual for me. As I’m a writer and not a musician, I normally have a much better memory for words than melodies. But this tune stuck with me when words did not. A slow half-happy theme in two, circling around a handful of notes, then repeated in a varied form. This, I realise, could describe an almost infinite number of jazz tracks – and don’t ask me to sing it for you.
But that is all I had to go on. Without words, my usual way of identifying most things, I had no way to find it again, though I did try. I combed YouTube and Googled jazz films. I even went to see Mayfield play again in the hope it might be a regular on his set list. It was not.
And then I heard it last weekend, when I wasn’t expecting it. I’d gone to the Rio Cinema near where I live to watch an old Spike Lee film about a jazz musician, screened as part of the Spike Is 60 festival. And there it was: “Mo Better Blues” – the name of the film, the name of the song, and a phrase that evokes that mix of sex, money and music at the film’s centre that Mayfield referred to.
But while the song was the one I recognised, what was new to me when I heard it again was this: it’s a half-sad song in a sad film. One where money is not fairly distributed, where hearts are broken and a musician loses his ability to play. What’s more, since 2009 Mayfield has been involved in some high-profile controversies.
Finding things again after a space of time usually means seeing them changed, and sometimes for the worse. But I was pleased to see the film had a happy ending, of sorts. And not only do its final scenes contain some resolution, they are also, in a very jazz-like way, a transformed and informed replaying of its first ones. Whenever you revisit things – whether that’s songs, films, places or people – they’re never the same as when you first encountered them, but we shouldn’t forget that there’s usually something good in this experience.