1 	My Funny Valentine 	5:33
2 	I Fall In Love Too Easily 	5:39
3 	Summertime	4:59
4 	Baby, Won't You Please Come Home	7:21
5 	This Hotel 	3:37
6 	I Got Plenty O' Nuttin' 	3:39
7 	Basin Street Blues 	5:28
8 	My Man's Gone Now 	10:39
9 	Blue In Green 	5:59

Bass – Charles Ables (tracks: 1, 6, 8, 9), Ron Carter (tracks: 2 to 4, 7, 8)
Drums – Al Foster (tracks: 2 to 4, 7, 8), Steve Williams (tracks: 1, 6, 8, 9)
Harmonica – Toots Thielemans (track 3)
Saxophone [Tenor] – Buck Hill (track 4)
Trumpet, Flugelhorn – Roy Hargrove (tracks: 2, 6 to 8)
Vocals, Piano – Shirley Horn

No thanks to the paucity of musical genius in the latter half of the 1990s, tribute albums to the departed just kept pouring forth, although in Shirley Horn's case, she was repaying an old personal debt to her subject. After all, it was Miles Davis who originally got Horn out of D.C. in 1960 as his opening act at the Village Vanguard and contributed his trumpet to one of her comeback albums (1990's You Won't Forget Me). Not only that, Horn's understated, laconic, deceptively casual ballad manner is a natural fit for the brooding Miles persona, and she doesn't have to change a thing in this relaxed, wistfully sung, solidly played collection. She doesn't actually perform any Davis compositions; everything here consists of standards that Miles covered or transformed in the 1950s, including three numbers from Porgy and Bess. Roy Hargrove adds his effective muted Miles imitations on "I Fall In Love Too Fast" and open flurries on "I Got Plenty O' Nuttin'"; and Toots Thielemans makes like a long, lonesome train whistle on "Summertime." Former Davis cohorts Ron Carter and Al Foster join the rhythm section in a remarkably searching, extended "My Man's Gone Now," the only track which takes note of the electric music that consumed so much of Miles' output (in this case, inspired by the We Want Miles version, not the more familiar Gil Evans interpretation). In a sad way, the very idea of a Miles tribute is an oxymoronic denial of the ever-restless spirit of this genius who didn't believe in looking backwards. But Shirley Horn certainly serves the man's sensitive side well. ---Richard S. Ginell, AllMusic Review

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1. Wild Is Love
2. Loads Of Love
3. My Future Just Passed
4. There's A Boat That's Leavin' Soon For New York
5. Ten Cents A Dance
6. Only The Lonely
7. The Second Time Around
8. Do It Again
9. It's Love
10. That's No Joke
11. Love For Sale
12. Who Am I

Personnel:
    Shirley Horn – vocals
    Jerome Richardson – flute, woodwind
    Frank Wess – flute, tenor saxophone
    Al Cohn – tenor saxophone
    Gerry Mulligan – baritone saxophone
    Joe Newman – trumpet
    Kenny Burrell – guitar
    Hank Jones – piano
    Jimmy Jones – piano, arranger, conductor
    Milt Hinton – double bass
    Osie Johnson – drums
    Gene Orloff – violin

A superior ballad singer and a talented pianist, Shirley Horn put off potential success until finally becoming a major attraction while in her fifties. She studied piano from the age of four. After attending Howard University, Horn put together her first trio in 1954, and was encouraged in the early '60s by Miles Davis and Quincy Jones. She recorded three albums during 1963-1965 for Mercury and ABC/Paramount, but chose to stick around Washington, D.C., and raise a family instead of pursuing her career. In the early '80s, she began recording for SteepleChase, but Shirley Horn really had her breakthrough in 1987 when she started making records for Verve, an association that continued on records like 1998's I Remember Miles and 2001's You're My Thrill. Along the way she picked up many prestigious honors including seven Grammy nominations (and one win for Best Jazz Vocal Album with I Remember Miles), a 1996 induction into the Lionel Hampton Jazz Hall of Fame and France's the Academie Du Jazz's Prix Billie Holiday for her 1990 album Close Enough for Love. In 2001 Horn's health began to fail (she had her left foot amputated due to diabetes) and while it affected her piano playing, she continued to perform sporadically and recorded one final album for Verve, 2003's May the Music Never End. Horn passed away on October 20, 2005, due to complications from diabetes. ---Scott Yanow & Tim Sendra, Rovi

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1.  Forget Me    [03:30]
2.  If You Go Away    [04:49]
3.  Yesterday    [04:14]
4.  Take Love Easy    [05:12]
5.  Never Let Me Go    [05:17]
6.  Watch What Happens    [03:29]
7.  I’ll Wind    [07:09]
8.  Maybe September    [07:10]
9.  Everything Must Change    [05:01]
10.  This Is All I Ask    [06:43]
11.  May the Music Never End    [05:07]

Musicians:
Shirley Horn - vocals, piano
Roy Hargrove - flugelhorn (4, 7)
Ahmad Jamal - piano (8, 10)
George Mesterhazy - piano
Ed Howard - bass
Steve 'Syco Steve' Williams – drums

Remarkably, the most reluctant of jazz stars ranks among the most prolific. The seemingly indefatigable Shirley Horn remains notoriously press-shy and self-conscious around effusive fans. The music, she insists, is the star. It can speak for itself, as it has in album after glorious album for nearly half a century. Recent releases have followed a fairly consistent pattern, with Horn accompanying herself on gorgeous standards wrapped in delicate Johnny Mandel arrangements. With May the Music Never End, the pattern shifts slightly. Mandel, who previously doubled as producer, hands the reigns to Horn. She, in turn, relegates the 88s to George Mesterhazy, because of losing a foot to diabetes complications, and focuses exclusively on vocal duties. The results rank among her most shimmeringly transcendent.

Examining lost or fading love from 11 distinct perspectives, Horn travels from the wistful cloudiness of Jacques Brel and Rod McKuen's "If You Go Away" to the velvet-trimmed bluesiness of Ellington's "Take Love Easy" (as bracing as a twilight martini and beautifully embroidered by Roy Hargrove's richly muted trumpet, which also enriches a chilling "Ill Wind.") She blends pounding disappointment with jaded resignation on "Everything Must Change" then teams with Ahmad Jamal for a dusky meander through Gordon Jenkins' catalog of simple pleasures on "This Is All I Ask."

Typically, singers handle these songs like injured sparrows, filling them with aching despair. Ah, but Horn's too worldlywise, too staunchly self-sufficient for such neediness. Instead, there's a wry smile in her voice as she navigates a choppy subcurrent of surviving. Nowhere is this more masterfully evident than on Paul McCartney's "Yesterday." Taking what is likely the most overexposed pop song in history, Horn manages to make it freshly intriguing by transforming it from a despondent exercise in self-pity to a cherished life lesson. Her heartbreakingly fractured reading of the single word "love" says more than most singers can say in a dozen albums. --- Christopher Loudon, jazztimes.com

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01. On The Street Where You Live
02. The Great City
03. That Old Black Magic
04. Mack The Knife
05. Come Dance With Me
06. Let Me Love You
07. After You’re Gone
08. Wouldn’t It Be Loverly
09. Go Away Little Boy
10. I’m In The Mood For Love
11. The Good Life
12. In the Wee Small Hours of the Morning

Shirley Horn - vocals, piano
Four Trumpets, 
Four Trombones and Four French Horns

Shirley Horn only recorded a few times early in her career before leaving music until her daughter was grown. This early date for Mercury, with little in the way of identified personnel, features arrangements by Billy Byers, Thad Jones, Don Sebesky, and Quincy Jones, though Horn is unfortunately only heard as a singer, even though she is listed as the pianist on the album cover. She excels throughout the sessions, but the arrangements tend to lean more toward pop than jazz, failing to take advantage of what is likely a crew of all-star horn soloists. Bobby Scott's piano playing is downright corny in "On the Street Where You Live" and "Mack the Knife," taking on more of a country flavor. Better tracks include "Come Dance With Me," and the slow, bluesy "After You've Gone." Long out of print, this album was finally reissued as one-half of a 1990 Verve CD compilation, though it has since been deleted as well. ---Ken Dryden, Rovi

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1. Introduction
2. He's Gone Again
3. Old Country
4. Roaming Lover
5. Garden of the Blues Suite: Blue City
6. Garden of the Blues Suite: What Would a Woman Do?
7. Garden of the Blues Suite: He Never Mentioned Love
8. Garden of the Blues Suite: The Great City

Musicians:
Shirley Horn – piano, vocals
Charles Ables – bass
Steve "Syco Steve" Williams – drums, percussion

Shirley Horn covers several works by composer Curtis Lewis (who passed away prematurely at the age of 51 in 1969) in this 1984 trio concert at Florida Memorial College. Horn, who was introduced to Lewis by her manager, John Levy, during her debut recording session in 1960, recorded several of his works over her career, including "All Night Long," but the bittersweet nature of many of the songs heard in this performance is carried off beautifully by the singing pianist, particularly "He's Gone Again." The last four tracks comprising Lewis' "The Garden of the Blues Suite" are part narrative and part song, including the well-known composition "The Great City." Horn is in top form throughout the concert, with her soft, thoughtful vocals accompanied by her sensitive and sometimes swinging piano. Bassist Charles Ables and drummer Steve Williams provide terrific support as needed, though they sometimes lay out for a significant spell. ---Ken Dryden, Rovi

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