Fat Charlie said he hadn’t. He grew to hate the question, and his answer, and the expression on her face when he told her that, no, his father wasn’t coming.

The worst day, in Fat Charlie’s opinion, was the day that the doctor, a gruff little man, had taken Fat Charlie aside and told him that it would not be long now, that his mother was fading fast, and it had become a matter of keeping her comfortable until the end.

Fat Charlie had nodded, and gone in to his mother. She had held his hand, and was asking him whether or not he had remembered to pay her gas bill, when the noise began in the corridor—a clashing, parping, stomping, rattling, brass-and-bass-and-drum sort of noise, of the kind that tends not to be heard in hospitals, where signs in the stairwells request quiet and the icy glares of the nursing staff enforce it.

The noise was getting louder.

For one moment Fat Charlie thought it might be terrorists. His mother, though, smiled weakly at the cacophony. “Yellow bird,” she whispered.

“What?” said Fat Charlie, scared that she had stopped making sense.

“ ‘Yellow Bird,’ ” she said, louder and more firmly. “It’s what they’re playing.”

Fat Charlie went to the door, and looked out.

Coming down the hospital corridor, ignoring the protests of nurses, the stares of patients in pajamas and of their families, was what appeared to be a very small New Orleans jazz band. There was a saxophone and a sousaphone and a trumpet. There was an enormous man with what looked like a double bass strung around his neck. There was a man with a bass drum, which he banged. And at the head of the pack, in a smart checked suit, wearing a fedora hat and lemon yellow gloves, came Fat Charlie’s father. He played no instrument but was doing a soft-shoe-shuffle along the polished linoleum of the hospital floor, lifting his hat to each of the medical staff in turn, shaking hands with anyone who got close enough to talk or to attempt to complain.