[Bruno hums in quiet acknowledgment that it is somewhat of an unusual choice in music for a five year old.]
Mamma listened to a lot of jazz when I was a kid, but this album sounded so different compared to the others she had. I just wanted to listen to it again and again when I was young to see if I'd notice anything different about the songs even though I'd heard them dozens of times.
[He curls up a little closer to Polnareff.]
I also just really liked the sound of his trumpet even as a kid. Miles Davis was so talented, he could tell an entire story or make conversation with only the sound of his trumpet. I don't know of any other artist who can use an instrument like that.
[He doesn't like the record all that much, but he can appreciate that, at least. Polnareff hums his agreement, his eyes closing as he does. He'd been right: he likes the record a bit more when they're lying here talking and it plays in the background. It adds to the conversation, puts him in a wonderfully relaxed mood. Idly, he wishes he had a cigarette, but he won't ruin this for Bruno.]
Are his other records like this? Like--
[He gestures vaguely, indicating the drifting notes of the song.]
[He's not entirely sure what the gesture means, but he doesn't exactly need to to answer the question. Bruno shakes his head a little.]
No, all of his records are something a little different from the others. He didn't believe in doing the same thing over and over again. He believed in that so much that he actually refused to play a lot of his earlier work live in his later career because to him that era of music had passed, so he didn't have any passion for playing it anymore.
It was his constant innovation that kept his career going for so long and influenced so many artists outside of jazz that came after him.
[That's actually pretty cool. Polnareff considers that as his hand once again plunges beneath Bruno's shirt.]
He was that important, huh?
[So like . . . like the Beatles, maybe, if they're going to compare it to something he knows. Changing the entire game around, making it so everyone had to struggle to keep up. He can respect that. It's certainly unlike any jazz he's ever heard (not that he's heard much, but still).]
Mm. Maybe sometime we'll get some more of his records, and we can compare.
[A beat, and then he adds:]
It was kind of a miracle I got this one, that's all I mean by maybe.
[Bruno lifts his head to kiss just once at Polnareff's jaw. His hand moves up to cup Polnareff's cheek and gently turn his head so he can kiss him on his lips. Both kisses are brief and chaste, and Bruno's touch is gentle.]
Thank you again. The album means a lot to me and it means even more to me that you went through the trouble of getting it.
[There was a time when that look in Polnareff's eyes would have given rise to enough anxiety that Bruno would pull away abruptly and with barely any warning. But nowadays... Well, the anxiety isn't all that way gone. There's still a lot of things they need to work through and think about. But it's better. It's so much better that Bruno can't help that things feel fairly close to perfect without the thought being terrifying.]
[I love you, he thinks, but he knows not to push his luck. There's only so many times he can say that without souring things. So he pushes it into his kiss, enthusiastic and eager, as hard a kiss as he can make it. I love you, and he brushes his thumb against the side of his throat, the movement as possessive as it is loving.]
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Oh, no.
[That's for his mother hiding the record, but the rest of that story is both endearing and perfectly in line with Bruno.]
How old were you?
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Of course you were. That's a hell of a long time to like a record, though. 'M surprised you liked it so young.
[It doesn't seem like the kind of music that would appeal to a five year old, that's all.]
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Mamma listened to a lot of jazz when I was a kid, but this album sounded so different compared to the others she had. I just wanted to listen to it again and again when I was young to see if I'd notice anything different about the songs even though I'd heard them dozens of times.
[He curls up a little closer to Polnareff.]
I also just really liked the sound of his trumpet even as a kid. Miles Davis was so talented, he could tell an entire story or make conversation with only the sound of his trumpet. I don't know of any other artist who can use an instrument like that.
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Are his other records like this? Like--
[He gestures vaguely, indicating the drifting notes of the song.]
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No, all of his records are something a little different from the others. He didn't believe in doing the same thing over and over again. He believed in that so much that he actually refused to play a lot of his earlier work live in his later career because to him that era of music had passed, so he didn't have any passion for playing it anymore.
It was his constant innovation that kept his career going for so long and influenced so many artists outside of jazz that came after him.
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He was that important, huh?
[So like . . . like the Beatles, maybe, if they're going to compare it to something he knows. Changing the entire game around, making it so everyone had to struggle to keep up. He can respect that. It's certainly unlike any jazz he's ever heard (not that he's heard much, but still).]
Mm. Maybe sometime we'll get some more of his records, and we can compare.
[A beat, and then he adds:]
It was kind of a miracle I got this one, that's all I mean by maybe.
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Thank you again. The album means a lot to me and it means even more to me that you went through the trouble of getting it.
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You're more than worth it, you know that?
[He pushes his fingers through Bruno's hair. The music still plays in the background, low and soothing, and Polnareff's smile grows.]
Happy birthday, chéri.
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[So, he kisses that growing smile.]
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