Shirley Horn

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Shirley Horn

PAYING TRIBUTE TO SHIRLEY HORN

Mr. PORTER. Mr. Speaker, I move to suspend the rules and agree to the concurrent resolution (H. Con. Res. 300) paying tribute to Shirley Horn in recognition of her many achievements and contributions to the world of jazz and American culture, as amended.

The Clerk read as follows:

H. Con. Res. 300

Whereas on October 20, 2005, the United States lost jazz

legend Shirley Horn, who contributed greatly to the musical

landscape of the Nation through her artistry and musical

talent;

Whereas Shirley Horn was born in 1934 in Washington, DC,

and started her musical career at the age of four on her

grandmother's piano;

Whereas at the tender age of 12, Shirley Horn studied

composition and piano at Howard University and was invited to

attend the prestigious Juilliard School in New York City when

she was 18;

Whereas jazz gives a powerful voice to the American

experience and is born of a diverse society, uniting people

across the divides of race, region, and national boundaries,

and draws from life experience and human emotion;

Whereas over her long and distinguished career, Shirley

Horn performed and worked with jazz legends, including Miles

Davis and Quincy Jones;

Whereas Shirley Horn recorded over two dozen albums and was

lauded with numerous honors, including the Grammy Award for

best jazz vocal performance in 1998, election into the Lionel

Hampton Jazz Hall of Fame in 1996, an honorary doctorate from

the Berklee College of Music in 1998, the 2003 Jazz at

Lincoln Center Award, inclusion in ASCAP's Wall of Fame as

the 2005 living legend, and the 2005 NEA Jazz Master, the

Nation's highest honor in jazz;

Whereas Shirley Horn never forgot her roots and continued

to support and perform in her local community of Washington,

DC, receiving the Mayor's Arts Award for Excellence in an

Artistic Discipline; and

Whereas Shirley Horn's voice and piano had a profound

effect on her listeners around the world: Now, therefore, be

Resolved by the House of Representatives (the Senate

concurring), That Congress--

(1) notes with deep sorrow the death of Shirley Horn and

extends heartfelt sympathy to her husband and family; and

(2) recognizes Shirley Horn's many achievements and

contributions to the world of jazz and American culture and

notes the loss to American culture with her passing.

The SPEAKER pro tempore. Pursuant to the rule, the gentleman from Nevada (Mr. Porter) and the gentleman from Illinois (Mr. Davis) each will control 20 minutes.

The Chair recognizes the gentleman from Nevada.

General Leave

Mr. PORTER. Mr. Speaker, I ask unanimous consent that all Members may have 5 legislative days within which to revise and extend their remarks and include extraneous material on H. Con. Res. 300, as amended.

The SPEAKER pro tempore. Is there objection to the request of the gentleman from Nevada?

There was no objection.

Mr. PORTER. Mr. Speaker, I yield myself such time as I may consume.

Mr. Speaker, I rise in support of H. Con. Res. 300, which pays tribute to Ms. Shirley Horn, one of the leading jazz musicians of her generation. Ms. Horn passed away this past October, leaving behind a legacy of unsurpassing musical achievement and a family thankful for her dedication as a wife, a mother, and a grandmother. I thank the resolution's author, Mr. Conyers, for drawing our attention to Ms. Horn's accomplishments and her status as one of America's artistic treasures.

Ms. Horn's talent was evident in early life. She began playing the piano at age 4 and started formal musical training at age 5. At the age of 12, she studied composition at Howard University in Washington, DC and received a scholarship to the Julliard School in New York at the age of 18. Unable to afford the high costs of living in New York, Ms. Horn instead remained in Washington, again studying music at Howard University.

Ms. Horn released her first album in 1961. The record, entitled ``Embers and Ashes,'' established her as a gifted jazz musician and attracted the attention of such musical luminaries as Miles Davis and Quincy Jones. Following the release of ``Embers and Ashes,'' Ms. Horn recorded two more albums and spent several years touring major jazz clubs throughout the United States.

However, Ms. Horn struggled with the travel demands of an active tour schedule and chose to spend the bulk of her time at home with her husband and daughter, occasionally playing at local jazz clubs in the Washington and Baltimore areas. Then, in 1980, while attending a musicians' convention in Washington, she was rediscovered while playing at a hotel piano with a group of old friends.

This rediscovery led to several years of touring and recording, with audiences and critics alike responding enthusiastically to her resurgence. Ms. Horn received nine Grammy nominations during this period, culminating in her 1998 Grammy Award for Best Jazz Vocal Performance for ``I Remember Miles,'' her tribute to Miles Davis.

Ms. Horn's awards also include a 2003 Jazz at Lincoln Center award for Artistic Excellence, and being named the 2005 National Endowment for the Arts Jazz Master, this country's highest honor for jazz, composers and musicians. In 2004, Ms. Horn was honored during a star-studded tribute and concert at Washington's Kennedy Center.

Musically, Ms. Horn will be remembered for the interaction between her voice and the piano and her slow, intimate ballads that have influenced the new generation of jazz artists. She will also be remembered for her dedication to family and the sacrifices she has made to be a good wife, mother and grandmother.

Mr. Speaker, as a musician myself, certainly nowhere near the accomplished musician as Ms. Horn was, I would like to also state from the personal side that I truly believe that the avenue to world peace is through music. I think she played a major role in bringing different cultures, different groups together for generations. I applaud her for that.

I would like to thank Mr. Conyers for bringing this national treasure to our attention today and providing this opportunity to pay tribute to Ms. Horn's accomplishments. I ask my colleagues to support this resolution.

Mr. Speaker, I reserve the balance of my time.

Mr. DAVIS of Illinois. Mr. Speaker, I would yield myself such time as I might consume.

Mr. Speaker, I am pleased to join with my musician colleague from Nevada in support and in consideration of this resolution. I want to thank my colleagues from Michigan and Washington for their leadership in bringing this resolution that pays tribute to the renowned Shirley Horn to the floor today. Mr. Conyers and Ms. Norton introduced this resolution to honor Ms. Horn after she passed away on October 20, 2005.

Mr. Speaker, there are jazz singers who go for the bangs and booms of rhythm and speed. And then there is Shirley Horn, who took it slow. She moseyed along the piano keys, gently stepping and loving the ivories with her fingers. Her raspy voice and her way with the grand piano made her legendary.

Shirley Horn was born on May 1, 1934, in Washington, DC. She tinkled the keys of the piano ever since she was 4 years old with encouragement from her mother, who dreamed of her daughter being a black classical pianist.

Discovered by Miles Davis when she was just a teenager singing in a bar in Washington, DC, she was admired by jazz greats. She won a Grammy award in 1999, her first win after nine nominations. She also was inducted into the Lionel Hampton Jazz Hall of Fame in 1996.

Ms. Horn did not reach stardom until she was well into her fifties. She put off her performing in clubs in D.C. in order to raise her daughter. She made certain that she balanced performing and raising her family.

Later in life, she continued to share her music, even though she had many health barriers to overcome. Nevertheless, she persevered.

For example, even after having her foot amputated due to complications with diabetes, she still played her music even though it was difficult for her to use the pedals on the piano. Ms. Horn once said, and I quote, ``I have to do it. I think when I was born, it's like God said, `Music!' and that was it. All my life, that's all I knew. It's in me, it's jammed up, and it's got to come out.'' She let her great raspy voice fill our ears, and she let us sit and listen to her slow leisurely stroll along the 88 keys of the grand piano.

Generations to come will listen to her music, appreciate the ability of her voice to communicate deep intimacy, set to just the right tempo, and honor her great accomplishments as a jazz legend and as a black woman.

Mr. Speaker, music is an international language. Those who are gifted to convey it can communicate with individuals from every spectre of life, individuals from many different countries, individuals who speak different languages and understand different dialects. That is the value of the musician, and that has been the value of Shirley Horn.

Mr. CONYERS. Mr. Speaker, I rise in support of this resolution, which honors the life of my friend, Shirley Horn. Shirley, who passed away on October 20, 2005, was one of this country's last great jazz vocalists, one in the triumvirate of ElIa Fitzgerald and Carmen McRae. Her luminous voice gave rise to whispery vocals that made songs lucky to be sung by her. Many fans noted that her songs simply melted in the air. She was a giant in the world of music and will forever remain an icon of American culture. I had the privilege of sharing my memories of her at her memorial service last year, surrounded by her family and countless friends.

Shirley was born here in Washington in 1934 and started her career in music at the age of ten on her grandmother's piano, unaware of the impact she would have on the world. She studied music at Howard University and was invited to attend the prestigious Juilliard School in New York. While financial difficulties at home kept her from Juilliard, they did not impede her spirit and drive.

While she started as a piano virtuoso, she was seventeen when she was coaxed into singing at a Washington, DC club called One Step Down. A customer promised her a turquoise teddy bear if she would sing ``My Melancholy Baby.'' Shirley said she was so shy, but she wanted that teddy bear enough to sing the song.

It was none other than Miles Davis and Quincy Jones who plucked her from that local club to international fame, and the story is worth repeating. Miles called her out of the blue after the release of her very first album, ``Embers and Ashes,'' and asked her to open for him at the Village Vanguard in New York. Not surprisingly for a young artist, she thought it was a joke and did not believe it until she went to New York and actually heard Miles's children singing from the album. Miles and his trumpet later joined a concert of hers but would not come out from behind a pillar while playing ``My Funny Valentine.''

With encouragement from Miles and Quincy, two other jazz icons, Shirley went on to record over two dozen albums and was lauded with numerous awards. After seven consecutive Grammy nominations, she won in 1998 for best jazz vocal performance. It was fitting that the winning album was ``I Remember Miles,'' a tribute to her mentor and friend, Miles Davis. I cannot think of a more fitting honor for Shirley and Miles.

But her contributions to music go far beyond one album. On recordings for Verve Records, she collaborated with Miles Davis, Wynton Marsalis, Gary Bartz, and Toots Thielman. She even recorded the soundtrack for the movie ``For Love of Ivy.'' The person who asked her to do the soundtrack was the star of the film, Sidney Poitier. She also recorded a tribute album to Ray Charles called ``Here's to Life, Light out of Darkness.''

She also was elected into the Lionel Hampton Jazz Hall of Fame, received an honorary doctorate from Berklee College of Music, and won the 2003 Jazz at Lincoln Center Award.

Importantly, she never forgot her family or her background. She lived mainly in Washington during the early part of her career so that she could take care of her daughter. Recording equipment and jazz legends like Elvin Jones came to her house to record albums.

She even remembered how one person could make a difference in the lives of others. Just as Miles recognized her talent and took her under his wing, Shirley reached out to a young drummer named Aaron Weiman and took him under her wing. And none other than pianists-singers Diana Krall and Norah Jones count her as mentors.

I again express my deepest sympathies to her family and urge my colleagues to vote ``yes'' on this resolution.

Takoma Park, MD,

February 14, 2006.

Representative John Conyers, Jr.,

Rayburn House Office Building,

Washington, DC.

Dear Congressman Conyers: I am writing in support of House

Concurrent Resolution 300, saluting the life and music of

Shirley Horn.

Shirley Horn was an American original. She was an

outstanding jazz singer and musician. She lived that uniquely

American music, jazz, respected its traditions: and passed

them on for all to share. In small clubs, and in large

auditoriums, Shirley Horn performed throughout the United

States and around the world. This resolution honors Shirley

for all time. It is richly deserved. I applaud its

introduction and urge the House to vote to pass it.

Shirley Horn worshiped words and the stories they told--and

her renditions of standards and other songs were lyrical

magic.

When we first met, she sat right next to me at the piano

for a whole night at Washington's famous and now defunct jazz

club, the One Step Down. At first, I was intimidated by a

giant of America's music sitting no more than three feet

away. This was someone who worked with Miles Davis and so

many other greats! But, she was warm and infinitely gracious

to a young, developing pianist. A wonderful friendship grew

over the last 7 years of her life and Shirley Horn became my

`third' grandma.

Through the terrible illness that eventually took her life,

she always thought about leaving her hospital bed and playing

music. She yearned to sing, play piano, and perform alongside

her long-time band members, Steve Williams on drums and Ed

Howard on bass.

Her love of lyric and melody inspired me, musicians and

singers, and audiences around the world. Shirley was

wonderful at making all the songs she sung and played

beautiful, rich, and full of emotion and stories.

She made famous a song entitled'' Here's to Life'' written

by Phyllis Molinary and Artie Butler. This was the closing

song at many of her concerts. She ended with the last lyric,

which was ``Here's to life / Here's to Love / Here's to

You.''

Here's to you, Shirley,

I urge all house members to support House Concurrent

Resolution 300.

Aaron Weiman.

____

Silver Spring, MD,

February 14, 2006.

Hon. John Conyers,

Rayburn House Office Building,

Washington, DC.

Dear Representative Conyers: I was thrilled to learn that

you introduced and the House of Representatives will soon

consider are solution to honor the life of Shirley Horn.

As her drummer for approximately 30 years, and her, as she

would say, soul mate, I can honestly say Shirley Horn is

already and has been among the great ambassadors--to America

and to the World--of this truly authentic American art form,

jazz.

I also have to include, that through her music, piano and

voice, Shirley Horn taught us, the very important things in

life--heart felt honesty, companionship, love and the art of

swing, the later I personally believe native of this country.

Shirley Horn, being a complete musician, was able to

interpret to me, on my instrument, the drums, precisely what

she wanted. It was then I realized her knowledge of the

importance of each instrument. That included her ability to

show me the way to express what had to be said purely and

simply.

We traveled the world and each performance was an

adventure. Of notable performances, I must recall the evening

hosted by President Bill Clinton and First Lady Hilary

Clinton. Even with the audiences who didn't speak our

language, Shirley Horn was able to communicate her message of

song, melody and love, truly qualities of an ambassador.

During my time with Shirley Horn, I was able to record and

perform with many of the greats of this music; Miles Davis,

Milt Jackson, Gary Bartz, Roy Hargrove, Wynton Marsalis,

Toots Thielemans, Joe Henderson. And a particularly educating

experience, we recorded at her home with two colossal men of

my instrument: Elvin Jones and Billy Hart. There was no end

to what she was able to give.

Now we have the rest of our lives to ingest and pass on her

legacy.

Our Nation was enriched by Shirley Horn and her wonderful

legacy.

My sincere thanks and appreciation for asking the House of

Representatives and the U.S. Senate to honor this great Lady.

Sincerely,

Steve Williams.

Mr. DAVIS of Illinois. Mr. Speaker, I have no further requests for time, and I yield back the balance of my time.

Mr. PORTER. Mr. Speaker, I again appreciate having the opportunity to speak on this resolution today, and my strong feelings that we should recognize her for her many accomplishments. I would ask that my colleagues support this resolution as amended.

Mr. Speaker, I yield back the balance of my time.

The SPEAKER pro tempore (Mr. Kolbe). The question is on the motion offered by the gentleman from Nevada (Mr. Porter) that the House suspend the rules and agree to the concurrent resolution, H. Con. Res. 300, as amended.

The question was taken; and (two-thirds having voted in favor thereof) the rules were suspended and the concurrent resolution, as amended, was agreed to.

A motion to reconsider was laid on the table.