Paris in May. D. Grey
that she had just crossed the threshold to a new stage in her life. Her primary focus would have to change.
*****
As his mother stepped into the cab to leave, Ken walked back into Fiori Di Campo and asked if they needed a piano player.
“The boss is not here, but if you want to wait, she’ll be here in a minute.”
Ken sat at the four-stool bar next to the piano and sipped a beer. Before long, the manager of Fiori di Campo strolled into the restaurant and said a word to the maître d’, who nodded in Ken’s direction.
“Hi! I’m Maria Fattore. This is my family’s restaurant. I manage it. What can I do for you?”
“I’m Ken Carle, a piano player. You have an instrument, and nobody is playing it. Would you like someone to play it?”
“We put the piano in hoping to have live music, but we have not gotten around to it yet. We don’t even know what kind of music we want.”
“I can play almost any kind of music. So I’ll make you a deal. If I can play the music that blends with your idea of what would be nice in the restaurant, you will hire me two nights a week. However, if I can find music that fills the tables, you’ll give me a bonus.” Ken smiled at his own brazenness.
“I’ll first have to hear you play, Mr. Carle.”
“Is now an appropriate time, Ms. Fattore? Tell you what, I’ll play a tune of your choosing and then take requests from the few diners still here. If you and the diners like what you hear, we’ll talk further. If not, let me know.”
“First of all, my name is Maria, and I got two conditions that need to be satisfied. I got to like the music, and it’s got to get asses in the seats.”
“Give me a month working two nights a week. If business in general picks up enough to cover my pay or if it’s better the nights I play, you keep me on. If nothing changes, you don’t need me.”
“All this sounds very reasonable,” said Maria. “But I don’t want any contracts or written agreements. If you can agree to that, we’ve got a deal.”
The next few minutes were spent negotiating Ken’s nightly pay. Finally he sat at the piano and for thirty minutes played in a variety of styles. He took requests and got applause from an audience that was thankful for the addition of Ken’s abilities and taste. Over the course of a few weeks, Fiori Di Campo doubled its traffic, and patrons were treated to melodies originally sung by the great Italian American crooners like Sinatra, Martin, Bennett, and Damone, all of whom were hip to the creative influence of jazz. Soon Fat John’s and Fiori Di Campo stabilized Ken’s financial life and provided the opportunity for him to move beyond the periphery of the lower east side music scene and slowly introduce himself to some of the more important music venues.
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