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.
Tain't What You Do
Al Hirt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And miss it each night and day
I know I'm not wrong, the feeling's getting stronger
The longer I stay away
Miss the moss-covered vines, tall sugar pines
Where mockingbirds used to sing
I'd love to see that old lazy Mississippi
The moonlight on the bayou
A Creole tune that fills the air
I dream about magnolias in bloom
And I'm wishin' I was there
Do you know what it means to miss New Orleans
When that's where you left your heart
And there's one thing more, I miss the one I care for
More than I miss New Orleans
The lyrics to Al Hirt’s song, “Do You Know What It Means to Miss New Orleans?” evoke a strong sense of longing and nostalgia for a place that one has left behind. The opening lines, “Do you know what it means to miss New Orleans and miss it each night and day?” set the tone for the rest of the song, which describes the specific things that the singer misses about his beloved city. He speaks of the moss-covered vines and tall sugar pines, which were once home to the beautiful melodies of mockingbirds. He longs to see the lazy Mississippi bustling with the energy of spring, and he dreams of magnolias in full bloom. The moon light on the bayou is another detail that he vividly recalls, as is the sound of a Creole tune that fills the air. Above all, the singer misses the one he cares for more than anything else, emphasizing the idea that home is not just a place, but is also the people that make it feel like home.
The song, originally written by Eddie DeLange and Louis Alter, was originally featured in the 1947 film, “New Orleans.” With its rich jazz tones and heartfelt delivery, it quickly became a favorite of jazz enthusiasts around the world. Interestingly, while the song has come to be associated with New Orleans and its rich cultural heritage, it was actually written by two non-natives – DeLange was from Brooklyn, while Alter hailed from New York City. Despite this, the song’s lyrics still perfectly capture the spirit of the city, providing a window into the unique and vibrant character of New Orleans.
*The song has been covered by numerous musicians, including Louis Armstrong, Billie Holiday, Harry Connick Jr., and many others.
*It has become a jazz standard and is often played at funerals and other events honoring the deceased in New Orleans.
*In 2005, following Hurricane Katrina, the song experienced a resurgence in popularity, with many using it as a symbol of hope and resilience in the face of tragedy.
*Al Hirt’s trumpet playing is one of the defining features of the song, adding a layer of soulful melancholy that perfectly complements the lyrics.
*The references to the Mississippi River and bayou speak to the importance of water and nature in the cultural consciousness of New Orleans.
*There is a strong sense of nostalgia and wistfulness that pervades the lyrics, emphasizing the idea that there is something timeless and unchanging about the essence of New Orleans.
*Although the song was written by two non-natives, it has come to be seen as a quintessential expression of the spirit of New Orleans.
*Many of the things mentioned in the lyrics, such as the tall sugar pines and moss-covered vines, are specific to the Louisiana landscape, emphasizing the unique attributes that make New Orleans such a beloved place.
*The song has been performed in a variety of different styles, from traditional jazz and blues, to more modern interpretations that incorporate elements of funk, hip-hop, and R&B.
*The song’s popularity has endured for over 70 years, making it a true classic of the jazz genre.
Chords: C, E7, E, Am, D7, G7, C7, F, Fm.
Line by Line Meaning
Do you know what it means to miss New Orleans
Have you ever experienced the feeling of longing and nostalgia for New Orleans?
And miss it each night and day
This feeling persists day in and day out, causing distress and sadness.
I know I'm not wrong, the feeling's getting stronger
There is no doubt that this feeling is real and it is only becoming more intense.
The longer I stay away
The longer the physical separation from New Orleans, the stronger the emotional pull towards it.
Miss the moss-covered vines, tall sugar pines
Longing for the lush, verdant greenery that characterizes Louisiana's flora.
Where mockingbirds used to sing
The memory of the sweet songs of mockingbirds adds to the feeling of nostalgia.
I'd love to see that old lazy Mississippi
The slow, gentle flow of the Mississippi River is a beloved sight.
Hurrying into Spring
Springtime in New Orleans is especially joyful and not to be missed.
The moonlight on the bayou
The glow of the moonlight reflecting on the waters of the bayou is a serene and cherished sight.
A Creole tune that fills the air
The lilting melodies of Creole music wafting through the streets enhance the atmosphere of New Orleans.
I dream about magnolias in bloom
Magnolias are a beloved symbol of the beauty and resilience of New Orleans and add to the nostalgic longing.
And I'm wishin' I was there
The desire to be physically present in New Orleans is strong and palpable.
When that's where you left your heart
New Orleans holds a special place in the heart of the person singing the song.
And there's one thing more, I miss the one I care for
The person singing misses not only New Orleans but also a specific person who is also absent.
More than I miss New Orleans
The absence of this person is felt more strongly than the absence of New Orleans.
Lyrics © MUSIC SALES CORPORATION, BMG Rights Management, Warner Chappell Music, Inc.
Written by: Eddie De Lange, Louis Alter
Lyrics Licensed & Provided by LyricFind