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).
Wouldn't It Be Loverly
Shirley Horn Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Far away from the cold night air.
With one enormous chair,
Aow, wouldn't it be loverly?
Lots of choc'lates for me to eat,
Lots of coal makin' lots of 'eat.
Warm face, warm 'ands, warm feet,
Aow, wouldn't it be loverly?
I would never budge 'till spring
Crept over me windowsill.
Someone's 'ead restin' on my knee,
Warm an' tender as 'e can be.
'ho takes good care of me,
Aow, wouldn't it be loverly?
Loverly, loverly, loverly, loverly
The lyrics to Shirley Horn's song "Wouldn't It Be Loverly?" express a longing for comfort and warmth, both physical and emotional. The singer desires a room that is far away from the cold night air with one enormous chair in which they can sit and rest. The imagery suggests a desire for a cozy and intimate space, which is further emphasized by the mention of lots of choc'lates and coal makin' lots of 'eat. The singer also desires warmth in the form of a warm face, warm hands, and warm feet, signaling a desire for human connection and affection.
The second half of the song further emphasizes the singer's longing for emotional warmth and care. The singer expresses a desire to sit "abso-bloomin'-lutely still" until spring arrives, suggesting a need for peace and stability. The image of someone's 'ead restin' on the singer's knee and taking good care of them conveys a desire for someone to provide emotional support and comfort. The repeated refrain of "loverly" emphasizes the singer's desire for a beautiful and idyllic life.
Overall, "Wouldn't It Be Loverly" is a wistful and romantic song that expresses a desire for comfort, warmth, and emotional connection. The lyrics are simple yet evocative, creating a vivid image of the singer's desired life.
Line by Line Meaning
All I want is a room somewhere,
I desire a room somewhere secluded from the chilling night air.
Far away from the cold night air.
Somewhere far from the nipping, bitter cold nighttime air.
With one enormous chair,
A room furnished with an enormous chair.
Aow, wouldn't it be loverly?
Wouldn't it be delightful to have such a haven?
Lots of choc'lates for me to eat,
Abundant chocolates for me to munch on.
Lots of coal makin' lots of 'eat.
Sufficient coal to make enough warmth.
Warm face, warm 'ands, warm feet,
A place where my face, hands, and feet are warm to my liking.
Aow, wouldn't it be loverly?
Wouldn't it be exceptionally pleasant?
Aow, so loverly sittin' abso-bloomin'-lutely still.
Absolutely wonderful to sit still without disturbance.
I would never budge 'till spring
I would remain seated until winter fades away.
Crept over me windowsill.
Until the new season creeps through the windowsill.
Someone's 'ead restin' on my knee,
Another person's head resting on my lap.
Warm an' tender as 'e can be.
The person with their head resting on my lap is warm and gentle.
'ho takes good care of me,
The person that looks after me well.
Aow, wouldn't it be loverly?
Wouldn't it be just delightful?
Loverly, loverly, loverly, loverly
Absolutely lovely, delightful, splendid, and charming.
Lyrics © Warner/Chappell Music, Inc.
Written by: ALAN JAY LERNER, FREDERICK LOEWE
Lyrics Licensed & Provided by LyricFind