Shirley Horn was born and raised in Washington, D.C.. Encouraged by her grandmother, an amateur organist, Horn began piano lessons at the age of four. Aged 12, she studied piano and composition at Howard University, later graduating from there in classical music. Horn was offered a place at the Juilliard School, but her family could not afford to send her there. Horn formed her first jazz piano trio when she was 20. Horn's early piano influences were Erroll Garner, Oscar Peterson and Ahmad Jamal, and moving away from her classical background, Horn later said that "Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy." She then became enamored with the famous U Street jazz area of Washington (largely destroyed in the 1968 riots), sneaking into jazz clubs before she was of legal age.
Horn first achieved fame in 1960, through her association with Miles Davis. Davis' praise had particular resonance in two respects: because he was so highly respected as a musician, and because he rarely offered public praise for fellow musicians at that time. Horn had, though, recorded several songs with violinist Stuff Smith in 1959 both as a pianist and a singer. After her discovery by Davis, she recorded albums on different small labels in the early 1960s, eventually landing contracts with larger labels Mercury Records and Impulse Records. She was popular with jazz critics, but did not achieve significant popular success.
Quincy Jones attempted to make Horn into a pure vocalist in several recording sessions, something he later hinted may have been a mistake. Horn was also disturbed by the changes in popular music in the 1960s following the arrival of The Beatles. Largely rejecting efforts to remake her into a popular singer, she stated: "I will not stoop to conquer."[4] From the late-1960s, she concentrated on raising her daughter Rainy with her husband, Shepherd Deering (whom she had married in 1955), and largely limited her performances to her native Washington, D.C.
Miles Davis made a rare appearance as a sideman on Horn's 1991 album You Won't Forget Me. Although she preferred to perform in small settings, such as her trio, she also recorded with orchestras, as on the 1992 album Here's to Life, the title song (lyrics by Phyllis Molinary, music by Artie Butler) of which became her signature song. A video documentary of Horn's life and music was released at the same time as "Here's To Life" and shared its title. At the time, arranger Johnny Mandel commented that Horn's piano skill was comparable to that of the noted jazz great Bill Evans. A follow-up was made in 2001, named You're My Thrill.
Horn worked with the same rhythm section for 25 years: Charles Ables (bass) and Steve Williams (drums). Don Heckman wrote in the Los Angeles Times (February 2, 1995) about "the importance of bassist Charles Ables and drummer Steve Williams to Horn's sound. Working with boundless subtlety, following her every spontaneous twist and turn, they were the ideal accompanists for a performer who clearly will tolerate nothing less than perfection".
Her albums Here's to Life, Light Out of Darkness (A Tribute to Ray Charles) and I Love You, Paris all reached number one on the Billboard jazz charts.
Due to health problems in the early 2000s, Horn had to cut back on her performances. After 2002, a foot amputation (from complications of diabetes) led her to leave the piano playing to pianist George Mesterhazy. In late 2004, Horn felt able to play piano again, and recorded a live album for Verve, at Manhattan's Au Bar with trumpet player Roy Hargrove, which did not satisfy her.[citation needed] It remains unreleased except for tracks on But Beautiful - The Best of Shirley Horn.
A breast cancer survivor, she had been battling diabetes when she died of complications from the condition, aged 71. She is interred at Ft. Lincoln Cemetery in Washington, D.C.
Horn was nominated for nine Grammy Awards during her career, winning the Grammy Award for Best Jazz Vocal Performance at the 41st Grammy Awards for I Remember Miles, a tribute to her friend and mentor (the album's cover featuring a Miles Davis drawing of them both).
She was officially recognized by the 109th US Congress for "her many achievements and contributions to the world of jazz and American culture", and performed at The White House for several U.S. presidents. Horn was awarded an honorary Doctor of Music degree from the Berklee College of Music in 2002.
She was awarded the National Endowment for the Arts Jazz Masters Award in 2005 (the highest honors that the United States bestows upon jazz musicians).
There's A Boat That's Leavin' Soon For New York
Shirley Horn Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Where that come from. Listen: There's a boat dat's
Leavin' soon for New York. Come wid me, dat's where
We belong, sister.
You an' me kin live dat high life in New York.
Come wid me, dere you can't go wrong, sister.
I'll buy you de swellest mansion
An' through Harlem we'll go struttin',
We'll go astruttin',
An' dere'll be nuttin'
Too good for you.
I'll dress you in silks and satins
In de latest Paris styles.
And de blues you'll be forgettin',
You'll be forgettin',
There'll be no frettin'
Jes nothin' but smiles.
Come along wid me, Hey dat's de place,
Don't be a fool, come along, come along.
There's a boat dat's leavin' soon for New York
Come wid me, dat's where we belong, sister,
Dat's where we belong! Come on, Bess!
You low, crawlin' hound! Get away from my door, I tells
You, leave it, you rattlesnake. Dat's what you is,
A rattlesnake!
The lyrics of Shirley Horn's "There's A Boat That's Leavin' Soon For New York" are a conversation between two characters, one trying to convince the other to leave their current situation and come with them to start a new life in New York. The singer refers to the boat leaving soon for New York and proposes that they should follow this path to a better life.
The singer promises luxury and wealth, assuring the other that they will live the high life in New York. They offer to buy them the swellest mansion on Fifth Avenue and dress them in the latest Paris styles. The song paints a picture of an idealized New York, where the two of them can go strutting through Harlem without a care in the world.
The lyrics take a sharp turn at the end when the singer yells at someone trying to come into their home, calling them a rattlesnake. This outburst is unexpected and brings an element of danger and reality into the song.
Overall, the lyrics are about the desire for a better life and the willingness to take risks to achieve it. They also touch on themes of wealth, materialism, and the promise of opportunity in the big city.
Line by Line Meaning
That's the thing, ain' it? An' membuh there's.
Acknowledging a certain idea, with a reminder to keep in mind that idea's importance.
Where that come from. Listen: There's a boat dat's
Asking about the origin of the previously mentioned idea, leading into a suggestion to listen to what comes next.
Leavin' soon for New York. Come wid me, dat's where
Pointing out the opportunity to leave for New York soon, and inviting someone to come along.
We belong, sister.
Emphasizing that New York is where they rightfully belong, and addressing the listener as 'sister'.
You an' me kin live dat high life in New York.
Expressing the possibility of living a luxurious life in New York.
Come wid me, dere you can't go wrong, sister.
Encouraging the listener to take the opportunity and reassuring them that it is the right choice.
I'll buy you de swellest mansion
Making a promise to purchase the most elegant mansion for the listener.
Up on upper Fi'th Avenue
Clarifying the location of the promised mansion on Fifth Avenue.
An' through Harlem we'll go struttin',
Imagining the experience of walking confidently through Harlem together.
We'll go astruttin',
Further emphasizing their confidence and joy while walking through Harlem.
An' dere'll be nuttin'
Continuing to paint a vivid picture of their anticipated positive experience.
Too good for you.
Concluding the image with the assertion that the listener deserves only the best.
I'll dress you in silks and satins
Promising to dress the listener in the finest luxurious fabrics.
In de latest Paris styles.
Describing the specific fashionable style in which the listener will be dressed.
And de blues you'll be forgettin',
Assuring the listener that the negative emotions they might be experiencing will vanish.
You'll be forgettin',
Repeating the idea of the listener forgetting their troubles.
There'll be no frettin'
Reiterating the idea that there will be nothing to worry about in New York.
Jes nothin' but smiles.
Finishing the image with the notion that the listener will be nothing but happy.
Come along wid me, Hey dat's de place,
Urging the listener to join the singer, reminding them that New York is the place to be.
Don't be a fool, come along, come along.
Using an exclamation to strongly encourage the listener to take the opportunity.
There's a boat dat's leavin' soon for New York
Again noting the departure of the boat, signalling the urgency of the opportunity.
Come wid me, dat's where we belong, sister,
Once again emphasizing that New York is where they belong, and calling the listener 'sister' again.
Dat's where we belong! Come on, Bess!
Repeating the statement that New York is their rightful home, using a nickname for the listener.
You low, crawlin' hound! Get away from my door, I tells
Addressing someone who is not welcome, using an insult to emphasize their unwelcome status.
You, leave it, you rattlesnake. Dat's what you is,
Continuing the verbal attack, using another insult to describe the person as a venomous snake.
A rattlesnake!
Finally concluding the string of insults with the specific type of snake the person resembles.
Lyrics © Warner/Chappell Music, Inc., SONGS MUSIC PUBLISHING
Written by: DOROTHY HEYWARD, DU BOSE HEYWARD, GEORGE GERSHWIN, IRA GERSHWIN
Lyrics Licensed & Provided by LyricFind