Faithless
10-29-2005, 12:23 AM
Here's to life
No complaints and no regrets
I steel believe and chasing dreams and placing bets
but I had learn that all you give is all you get
so give it all you got
I had my share I drag my field
and even though I'm satisfy I always still
to see what done on other road behind the hill
and do it all again
So here's to life
and every joy it brings
so here's to life
to dreamers and their dreams
Honey, all the times just climes
a love can go from more hellos to sad goodbyes
and live you with the memories you memorized
to keep your winters warm
There is no yes in yesterday
and who knows what tomorrow brings or takes away
as long as I'm still in the gage I want to play
for last, for life, for love
So here's to life
and every joy it brings
here's to life
to dreamers and their dreams
may all your storrms be weathered
and all that's good get better
here's to life, here's to love, here's to you
may all your storms be weathered
and all that's good get better
here's to life, here's to love, here's to you
A Musician Who Sang at Her Own Speed (http://www.nysun.com/article/21928)
One of the better articles about this accomplished jazz pianist and singer.
In Memoriam: Shirley Horn 1934-2005
By WILL FRIEDWALD * October 24, 2005
As a concept, minimalism is overrated. Most of the time, less is not more; less is actually less. But the pianist and singer Shirley Horn, who died Thursday night at the age of 71, was that rare musician who could squeeze the most music and emotion out of every precious note. In that sense, she was a maximalist, not a minimalist.
Like Count Basie, Horn employed as few notes as possible - never playing two notes when one would do, never sustaining any of them for two beats when one was sufficient. She knew that too many notes get in the way of one another, overpower one another. When she sang Johnny Mandel's "Close Enough for Love" on her 1988 CD of the same title, she gave each gorgeous note plenty of room to resonate. Even when she employed a Latin rhythm, as on the song "How Am I To Know?" from the 1992 album "Here's to Life," she did so subtly and gently, and refused to let it overwhelm the whole piece.
...
No complaints and no regrets
I steel believe and chasing dreams and placing bets
but I had learn that all you give is all you get
so give it all you got
I had my share I drag my field
and even though I'm satisfy I always still
to see what done on other road behind the hill
and do it all again
So here's to life
and every joy it brings
so here's to life
to dreamers and their dreams
Honey, all the times just climes
a love can go from more hellos to sad goodbyes
and live you with the memories you memorized
to keep your winters warm
There is no yes in yesterday
and who knows what tomorrow brings or takes away
as long as I'm still in the gage I want to play
for last, for life, for love
So here's to life
and every joy it brings
here's to life
to dreamers and their dreams
may all your storrms be weathered
and all that's good get better
here's to life, here's to love, here's to you
may all your storms be weathered
and all that's good get better
here's to life, here's to love, here's to you
A Musician Who Sang at Her Own Speed (http://www.nysun.com/article/21928)
One of the better articles about this accomplished jazz pianist and singer.
In Memoriam: Shirley Horn 1934-2005
By WILL FRIEDWALD * October 24, 2005
As a concept, minimalism is overrated. Most of the time, less is not more; less is actually less. But the pianist and singer Shirley Horn, who died Thursday night at the age of 71, was that rare musician who could squeeze the most music and emotion out of every precious note. In that sense, she was a maximalist, not a minimalist.
Like Count Basie, Horn employed as few notes as possible - never playing two notes when one would do, never sustaining any of them for two beats when one was sufficient. She knew that too many notes get in the way of one another, overpower one another. When she sang Johnny Mandel's "Close Enough for Love" on her 1988 CD of the same title, she gave each gorgeous note plenty of room to resonate. Even when she employed a Latin rhythm, as on the song "How Am I To Know?" from the 1992 album "Here's to Life," she did so subtly and gently, and refused to let it overwhelm the whole piece.
...