the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn’t much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements—not a fistful of notes crammed higgledy-piggledy into thirty measures. And yet . . . And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force—one that was a little unruly and prone to say the
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