Hirt was born in New Orleans, Louisiana, the son of a police officer. At the age of six, he was given his first trumpet, which had been purchased at a local pawnshop. He would play in the Junior Police Band with the children of Alcide Nunez, and by the age of 16, Hirt was playing professionally, often with his friend Pete Fountain. During this time, he was hired to play at the local horse racing track, beginning a six-decade connection to the sport.
In 1940, Hirt went to Cincinnati, Ohio, to study at the Cincinnati Conservatory of Music with Dr. Frank Simon (a former soloist with the John Philip Sousa Orchestra). After a stint as a bugler in the United States Army during World War II, Hirt performed with various swing big bands, including those of Tommy Dorsey, Jimmy Dorsey, Benny Goodman, and Ina Ray Hutton.
In 1950, Hirt became first trumpet and featured soloist with Horace Heidt's Orchestra. After spending several years on the road with Heidt, Hirt returned to New Orleans working with various Dixieland groups and leading his own bands. Despite Hirt's statement years later "I'm not a jazz trumpeter and never was a jazz trumpeter", he made a few recordings where he demonstrated his ability to play in that style, during the 1950s with bandleader Monk Hazel, and a few other recordings on the local Southland Records label.
Hirt's virtuoso dexterity and fine tone on his instrument soon attracted the attention of major record labels and he signed with RCA Victor. Hirt posted twenty-two albums on the Billboard charts in the 1950s and 1960s. The albums Honey in the Horn and Cotton Candy were both in the Top 10 best sellers for 1964, the same year Hirt scored a hit single with his cover of Allen Toussaint's tune "Java" (Billboard No. 4), and later won a Grammy Award for the same recording. Both Honey in the Horn and "Java" sold over one million copies, and were awarded gold discs.
Hirt's Top 40 charted hit "Sugar Lips" in 1964 would be later used as the theme song for the NBC daytime game show Eye Guess, hosted by Bill Cullen and originally airing from January 1966 to September 1969.
Hirt was chosen to record the frenetic theme for the 1960s TV show The Green Hornet, by famed arranger and composer Billy May. Thematically reminiscent of Nikolai Rimsky-Korsakov's Flight of the Bumblebee, it showcased Hirt's technical prowess. The recording again gained public attention in 2003 when it was used in the film Kill Bill.
From the mid-1950s to early 1960s, Hirt and his band played nightly at Dan's Pier 600 at the corner of St. Louis and Bourbon Street. The club was owned by his business manager, Dan Levy, Sr.
Al Hirt club on the corner of Bourbon Street and St Louis in the French Quarter, 1977
In 1962 Hirt opened his own club on Bourbon Street in the French Quarter, which he ran until 1983. He also became a minority owner in the NFL expansion New Orleans Saints in 1967.
In 1962, in an effort to showcase him in a different musical setting, Hirt was teamed with arranger and composer Billy May and producer Steve Sholes to record an album titled Horn A Plenty that was a departure from the Dixieland material that he was generally associated with. Covering an eclectic variety of popular, standard and show tunes, it featured a big-band supplemented by timpani, French horns and harp. He also appeared opposite Troy Donahue and Suzanne Phlesette in the 1962 motion picture, "Rome Adventure."
In 1965, he hosted the hour-long television variety series Fanfare, which aired on CBS as a summer replacement for Jackie Gleason and the American Scene Magazine.
Hirt starred along with the University of Arizona marching band at the first Super Bowl halftime show in 1967.
On February 8, 1970, while performing in a Mardi Gras parade in New Orleans, Hirt was injured while riding on a float. It is popularly believed that he was struck in the mouth by a thrown piece of concrete or brick. Factual documentation of the details of the incident is sparse, consisting primarily of claims made by Hirt after the incident. Whatever the actual cause of his injuries, Hirt underwent surgery and made a return to the club scene. This incident was parodied in a Saturday Night Live skit from their second season Mardi Gras special, the "Let's Hit Al Hirt in the Mouth with a Brick Contest".
In 1987, Hirt played a solo rendition of "Ave Maria" for Pope John Paul II's visit to New Orleans. He is referred to in the 1987 film Good Morning, Vietnam, in a broadcast made by Lieutenant Hauk (Bruno Kirby).
Hirt died of liver failure at the age of 76, after having spent the previous year in a wheelchair due to edema in his leg. He was survived by his wife, Beverly Essel Hirt, and six children from a previous marriage.
South
Al Hirt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Why should ev'rybody pity me,
Nighttime's falling, folks are a singin',
they dance till break of day
Dear Old Southland with it's dreamy songs
Takes me back there where I belong
How I'd love to be in mammy's arms
When It's Sleepy Time Down South
The lyrics to Al Hirt's song "South" tell the story of a person who is feeling homesick and tired while living in a big city. The person feels like he doesn't have a sense of belonging in the big city and wishes he were back home in the Southland, where he would be surrounded by the dreamy songs and familiar surroundings. He longs to be held in his mammy's arms as he falls asleep to the comforting sounds of the serene Southland.
The lyrics of the song reflect the struggles of many people who have left their hometowns in pursuit of bigger opportunities in the city, only to realize the importance of the familiarity of home. The use of colloquial phrases like "mammy's arms" adds a personal touch to the narrative and emphasizes the longing for the comfort that only the Southland can provide.
Overall, the song "South" captures the yearning for a place to call home and the struggles of city life versus hometown comforts.
Line by Line Meaning
Homesick tired All alone in a big city
Feeling both physically and emotionally drained, and longing for a sense of home and belonging, while being surrounded by the hustle and bustle of a crowded urban environment.
Why should ev'rybody pity me
Questioning why others might feel sorry for one's situation, when all they really need is comfort and connection.
Nighttime's falling, folks are a singin', they dance till break of day
Noticing the vibrant energy of nightlife and socializing in the city, despite feeling personally disconnected from it.
Dear Old Southland with it's dreamy songs
Reflecting nostalgically on a specific place that represents a simpler and more idyllic time, characterized by music and culture that invokes feelings of dreaminess and romance.
Takes me back there where I belong
Expressing a strong desire to return to this place that represents a sense of belonging and home, and feeling a sense of displacement in one's current surroundings.
How I'd love to be in mammy's arms
Yearning for the physical and emotional comfort of a family member who represents a deep sense of love and affection.
When It's Sleepy Time Down South
Referencing a specific time of day and location that represents peace and tranquility, and symbolizes a return to a nostalgic and comforting place.
Lyrics © OTIS RENE PUBLICATIONS, Sony/ATV Music Publishing LLC, RESERVOIR MEDIA MANAGEMENT INC
Written by: Clarence Muse, Leon Rene, Otis Rene
Lyrics Licensed & Provided by LyricFind