Customer Reviews

I Remember Miles

5 star:		(13)
4 star:		(2)
3 star:		(0)
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Shirley Horn gives here an absolute masterpiece. I would classify this album among my top 10 jazz cds of all time. She revisits the compositions of Miles Davis with her own style, talent and velvet tone. She knows how to play with silences, in the very tradition of Miles. She takes time to set-up the tune and melody and let it drive you into this other world, hers. She definitely brings you to the stars... A sophisticated, and relaxing album, a must in a discotheque, jazz fan or not. She used to be the favourite singer of Miles Davis indeed. No wonder why.
VP, Jazzman

I've always claimed I don't like those singers who sing so very slow. But have I changed my mind after listening this CD! This is wonderful! Even if she sings "awfully slow", as Miles Davis told her lovingly, she is so very sultry and expressive! I was a little reluctant about buyinb this release because I already had at home most of the jazz standards included here sung by some other singers, but her covers are so personal and original that there is nothing which sounds repetitive. Moreover, her vocals aren't the only highlight: she is also a genius pianist and the horn arrangements are great. In my opinion, the best vocal jazz release of the nineties. A masterpiece.

Tune the grand jazz piano, call her trio (bass & drums longtime mates). Then invite a great soloist in - one of those Ms.Horn is used to allowing. Simple like this. You'll need nothing else to get one of the best albums on GAS and jazz vocals. The environment is calmly perfect, touchy. She just re-built Gershwin's "I Got Plenty of Nothing". When listening to "My Funny Valentine" it immediately comes to mind the Miles Davis'rendition. And then the doubt: who has influenced who? Extraordinaire. - P.S.: Also pick Miles Davis' "My Funny Valentine" album and compare. - P.S.: Don't forget a bottle of "beaujoulais". Half the lights on. Now, silence. Perfect.

A pivotal release which captures the essence of Miles' projects. Shirley Horn applies a remarkable sense of dynamics and sensitivity to the material. Expressive, flowing surreal... listen to the howl in "My Man Is Gone" it comes across like a aural painting, downtrodden, addicted, vanquished... What an amazing artist. Her piano styling is sparse, necessary, acute, and pointedly "on." Shirley Horn does not disappoint. This is what talent is all about!

It seems to me that the slower the tempo of Jazz songs, the more meaning and emotional content they contain.

And Shirley Horn really loved that slow tempo that she could pour herself into, that she could ring every drop of meaning out of songs, even songs that usually are faster. Jazz is often full of players with great technique who play at breakneck speeds and leave little of themselves in the groove. Soul is an overused term. This heart-wrenchingly slow music has a palpable sense of spirituality. Real soul.


Miles Davis himself did all his most emotionally involving work before 1964. Then he started to zip through his older songs...

Well. Shirley Horn so impressed Miles Davis in 1963 with her slowed tempos that three of the songs of his "Seven Steps to Heaven" were done as Shirley Horn did them! Shortly after she dropped out for almost two decades, to raise a family.

This CD is Always Wonderful, involving, thoughtful. Late night, romantic listening. A reflection of how early Miles would have did them. Roy Hargrove does an excellent job of phrasing his lines as MD would.

I'm sorry to have only found out about this major DC area talent after her recent death. I would have loved to have heard her do these songs live!

If you like a CD that gets better with each listening, start clicking that mouse and get this CD. ALthough you may think that you've heard "My Funny Valentine" sung every conceivable way, Shirley's take on the song will make you wonder why no one ever got it quite this right before. She brings out the best in "Summertime" and keeps the arrangement veering in directions other singers only dream about. Her voice may fray in spots, but every syllable hits home, and every note rings true. This is the voice of experience. The variety of tunes, the careful arrangements (neither too sparse nor too lush)and the excellent acoustics makes this music for many moods. Even non-jazz fans (and I dare say, non Miles Davis fans) will find much to enjoy here. You may find, as I have, that this CD doesn't stay in its case very often. Enjoy!

Shirley Horn

I Remember Miles Tunes: My funny valentine, I fall in love too easily. Summertime, Baby, wont you please come home, This Hotel, I got plenty o' nuttin', Basin street blues, My man's gone now, Blue in green

Personnel: Roy Hargrove, tpt; Buck Hill, Tenor, Toots Thielmans, Harmonica; Al Foster, drums; Steve Williams, drums; Ron Carter, bass; Charles Ables, bass

It's all been said about the qualities of Shirley Horn: The critics have showered her with praise. "Shirley Horn is the best singer in jazz today," wrote the San Francisco Chronicle. "Horn conveys more passion in a single sigh than any self-conscious spectacle of vocal gymnastics," declared the Boston Phoenix. "Her singing is very similar to Miles Davis's trumpet playing ‹ cool, dry, intimate, lined with elegance," the New York Post announced. I would have to echo the sentiments of the critics. Her's is a style that grows with the listener, intimate and reflective. Her jazz is pure, straight and intoxicating. When she delivers her interpretation of a line it's done in an incredibly slow tempo that's taken her years to develop and sustain. I have to sheepishly admit that "I Remember Miles" is my first Shirley Horn CD. However, it's to be far from my last. The CD opens with an incredibly slow and astonishing version of "My funny valentine," with tasty and effective comping by Ms. Horn. You'll hang on to every syllable and word she sings while she builds a concerto of notes behind herself on piano. I've always been a sucker for the beautiful and poignant lyrics of "I fall in love too easily." In the hands of Ms. Horn this is taken to another level in another atmosphere. The effect is ever so haunting. Roy Hargrove's solo salutes Miles without imitating him. "Summertime" has the added bonus of Toots Thielmans on Harmonica. I've learned that she's done an entire CD with Toots. Yes, it's on my shopping list. As I continue to listen I cannot say enough about her ability to play so beautifully to enhance her singing. I doubt if they're too many players that could complement her the way she does herself. "Baby, wont you please come home" opens with a nice bass solo by Ron Carter. Also, Al Foster demonstrates the art of the wire brushes. At this very slow pace he's able to create whole volumes of light percussive fill ins for Shirley. Buck Hill comes in and raises the tempo and grooves a nice tenor solo. Shirley than takes it out and we're back at the original pace introduced for a perfect ending. If I have to choose a gem for this CD it would have to be "This Hotel. " What a marvelous rendering of deep lyrics as only Ms. Horn can interpret. "Blue in green" is so very poetic, again being sustained by a very slow tempo. This time the sensitive light touch is supplied by drummer Steve Williams. Even if Shirley Horn didn't sing she'd contribute much to music with her ability on piano. There's only one vocal line and its so tenderly dedicated to Miles: "Honey, from a horn so sweet." On "My man's gone now" hang on for this introduction from two basses and two drummers. I wonder if this is Shirley's arranging? It's first rate and grabbing. Roy Hargrove has a wonderful solo paying homage to the master, while holding on to his originality and creativity. It may be too soon to say, but with Sarah, Ella and Carmen no longer with us, Shirley Horn may be the greatest jazz singer around today. There's a good argument made for the originality and depth of Betty Carter who is so completely different from Ms. Horn. But that's what makes jazz so great, right?

Shirley Horn is a Musical Genius.Her Piano Playing is tight and Her voice is Amazing on this set.it's only fitting that She does Miles Justice considering that he has alot of Respect for Her Music Ability.This Disc comes straight from the Heart and has alot of Soul.The Chemistry Works here.very Powerful.

......the music of Miles and the vocals and piano of Shirley Horn. There have been many tributes to Miles Davis but this one has some real connections. First of all Shirley opened for Miles in many of his appearances. Secondly when you listen to her singing and playing style,they are remakably similar to that of Miles; long pauses between notes, sparing of notes and what is played enhances the imagination to what is not played. That this album differs from the other tributes ia that only one composition, "Blue In Green",is by Miles. Three of the selections are from Gershwin's "Porgy and Bess". One of them, "This Hotel", was not even recorded by Miles.

It's not surprising that this album peaked at number 5 on Billboard's Top Jazz Albums of 1998. It's also not surprising that it won a Grammy that same year for best Jazz Vocal. The playing of Roy Hargrove on trumpet and supporting rhythm by Ron Carter on bass and Al Foster on drums, two of the cats who performed with Miles had to be supportive factors in this professional recognition.

This album is easily recommended for all that has been said and even more so , if you are fans of these musicians.

If the movie Amadeus is to be believed, when Mozart gave the emperor a preview of the Magic Flute, the emperor told Mozart that it had "too many notes." "Cut a few out" he said.

Never could this be said of Shirley Horn. Her style is spare, elegant--each note and phrase just enough to evoke the desired mood.

I have not purchased all of Ms. Horn's albumns, but of those I own, this is the best, and they are all very good.