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George Shearing

 
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(shîr'ĭng) pronunciation, George Albert Born 1919.

British jazz pianist and composer whose signature sound is marked by a unique quintet arrangement that includes bass, guitar, drums, and vibraphone.


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George Shearing

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Composer, arranger, piano

A prominent composer and arranger for over five decades, British musician George Shearing always regarded himself as a pianist who happened to play jazz. During the 1950s and 1960s, he led one of the world’s most popular jazz quintets, playing in a style he called "locked hands," and inventing a unique quintet sound derived from the combination of piano, vibraphone, electric guitar, bass, and drums. Along with the success of his quintet, Shearing made other great contributions throughout these years, including leading several small, Afro-Cuban jazz combos in the 1950s. Vibraphonist/percussionist Cal Tjader, along with esteemed congueros like Mongo Santamaria, Willie Bobo, and Armando Peraza, all played with Shearing’s Latin-influenced bands. Throughout his career as a soloist, fellow pianists admired his light, refined touch, and though he developed his own unique style, Shearing claimed both the great boogie-woogie pianists and classical players as prominent influences. A prolific composer, Shearing wrote over 300 pieces over the course of his lifetime, including the classic "Lullaby of Birdland," which became a jazz standard.

George Albert Shearing was born on August 13, 1919, in the Battersea district of Southwest London, England. Blind since the time of his birth, Shearing was one of nine children of a coal worker. Although his parents "read very little beyond the headlines of a newspaper," as Shearing recalled in an online interview with Steve Capra, they never discouraged the youngster in his musical development, although they never encouraged their son either. Nonetheless, by the time Shearing was three years old, he had already started playing piano and displayed an acute ear for music.

Receiving some training in his teens at the Linden School for the Blind, Shearing, excluding these four years at school, trained very little in the formal sense. During his school years, he also started picking up stylistic cues from a variety of sources, namely jazz influences from Teddy Wilson and Fats Waller records. When the young pianist reached the age of 16, his instructor at school had all but given up on trying to teach his student classical lessons, telling Shearing’s parents, "You know, further study of classical music for this young man would be a total waste of time," as quoted by Capra. "It is obvious to me that he’s gonna become a jazz pianist.," Despite this prediction, however, Shearing would later play the music of classical composers such as Bach, Mozart, Debussy, and Stravinsky (some of Shearing’s personal influences) for his own enjoyment, as well as with orchestras throughout the world.

Upon completing school, Shearing earned several scholarship offers from a number of universities, but turned

them down in order to pursue a more financially productive endeavor—playing piano in a neighborhood pub. In the 1930s, he joined an all-blind band (the Ambrose dance band) and developed a friendship with the a noted British jazz critic and author named Leonard Feather, who encouraged Shearing to make his first recording in 1937 and helped him land his first appearance on BBC (British Broadcasting Company) radio. From there, Shearing became a star in his homeland, performing on a regular basis for the BBC, playing a role in the London-based groups of French violinist Stéphane Grappelli (1908-1997) in the 1940s, and winning several Melody Makerpolls.

At the prompting of Feather, Shearing emigrated to New York City in 1947, hoping to extend his fame to the United States. He quickly absorbed the popular bebop style of the time (his early recordings in England focused mainly on the swing genre), joining the Oscar Pettiford Trio as Erroll Gardner’s replacement and leading a quartet with Buddy DeFranco. With his unique sound commanding national attention, in 1949 Shearing formed his first and most famous quintet, comprised of Marjorie Hyams on vibes, Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. An instant success on the national level since the quintet’s debut, Shearing began performing at the most respected venues of the era, including the legendary Birdland jazz club in New York, and became one of the most popular recording artists in the United States.

Shearing recorded briefly for the Discovery label before settling into lucrative association with MGM (from 1950 to 1955) and Capitol Records (from 1955 to 1969). During his years with Capitol, Shearing recorded albums with such singers as Nancy Wilson, Peggy Lee, and Nat King Cole, and released a lone album for the Jazzland label with the Montgomery Brothers in 1961. In addition to working in jazz and even more pop-oriented fare, the pianist around this time also started playing concerts with symphony orchestras.

Leaving Capitol in 1969, Shearing slowly started to phase out his work with the quintet, which he felt had become too predictable, and finally disbanded the unit for good in 1978. "I couldn’t wait to get rid of it," he told Los Angeles Times writer Zan Stewart in 1995. "I felt I’d put myself in a box. I could go on autopilot and play," the band’s repertoire, "so I went to the duo," for piano and bass. Before breaking up the quintet, Shearing started his own label called Sheba, and the company lasted a few years into the early-1970s. From there, he moved briefly to MPS in the later part of the decade, recording some trio efforts for the label. Nevertheless, Shearing’s profile had lessened in the 1970s by comparison to his stature during the MGM and Capitol years.

However, in the 1980s Shearing found the perfect home at Concord, signing with the label in 1979. He recorded five acclaimed albums with Mel Torme, including An Evening with Mel Torme & George Shearing, a 1982 Grammy Award winner for best jazz vocal performance. The duo earned a second Grammy the following year, with Torme garnering the award for their Concord album Top Drawer. Other notable projects included collaborations with bassists Brian Torff (Blues Alley Jazz and On a Clear Day) and Don Thompson (Live at the Café Carlyle), pianists Hank Hones (The Spirit of 176) and Marian McPartland (Alone Together), guitarist Jim Hall (First Edition), and vocalist Carmen McRae (Two for the Road). The decade also saw Shearing recording the solo Grand Piano sessions, sets for which the pianist’s full palette comes into play.

Shearing continued to be a vital force well into the 1990s, signing with the Telarc label in 1992. I Hear a Rhapsody: Live at the Blue Note (1992) and Walkin’: Live at the Blue Note (1995) both were taken from a live engagement (with bassist Neil Swanson and drummer Grady Tate) at the New York club and won stellar reviews. For That Shearing Sound (1994), the pianist returned to his quintet format, and in 1997, he released a solo album entitled Favorite Things. Penning over 300 compositions in his lifetime, Shearing enjoyed one of the most prolific and longest recording careers in jazz history.

A recipient of numerous honors and awards, Shearing earned an honorary Doctorate of Music degree from Westminster College in Salt Lake City, Utah, in May of 1975, as well as an honorary doctorate in music by Hamilton College in upstate New York in May of 1994. In 1978, he received the prestigious Horatio Alger Award for Distinguished Americans. That same year, a community recreational facility in Battersea, South London, was the named the George Shearing Centre in his honor. In May of 1993, Shearing was presented with the Ivor Novello Award for Lifetime Achievement—the British equivalent of the Grammy honor. On November, 26, 1996, the pianist was invested by Queen Elizabeth II at Buckingham Palace as an Officer of the Order of the British Empire for his musicianship and service in promoting British/American relations. In March of 1998, Shearing received the first American Music Award by the National Arts Club in New York City. In addition to these and other awards, Shearing was invited to play before three U.S. presidents, Gerald Ford, Jimmy Carter, and Ronald Reagan, and performed at a Royal Command Performance for Queen Elizabeth II and Prince Philip. His organizational memberships include the Friars Club and Lotos Club in New York, as well as the Bohemian Club in San Francisco.

All of these honors, said Shearing, represented a collective highlight of his career. When asked what his favorite moment as a pianist was, he replied: "I think it would be the idea of knowing that I can appear in Carnegie Hall with Dizzy [Gillespie] in 1948 … and knowing that I’ve played for three presidents… knowing I’ve played command performance for Queen Elizabeth… knowing that I played with a number of symphony orchestras throughout the country," as quoted by Capra. "And all this from a little blind kid born on the wrong side of the tracks… whose parents were quick to say ‘Oh, we don’t get those kind of jobs, son. They’re for the nobs, you know.’,"

During the late 1990s, Shearing continued to perform in select music halls on occasion. He and his wife, Ellie, divided time between homes in New York and abroad in Cotswold, in the English countryside. Even in his later years, Shearing remained, according to Stereo Review’s Chris Albertson, "a remarkable artist who’s creativity remains undiminished.,"

Selected discography
So Rare, Savoy, 1947.
Piano Solo, Savoy, 1947.
George Shearing Quintet, Discovery, 1949.
Lullaby of Birdland, Verve, 1949.
You’re Hearing the George Shearing Quartet, MGM, 1950.
Touch of Genius, MGM, 1951.
The Shearing Spell, Capitol, 1955.
Shearing Caravan, MGM, 1955.
Shearing in Hi Fi, MGM, 1955.
White Satin & Black Satin, Capitol, 1956.
Black Satin, Capitol, 1956.
Latin Escapade, Capitol, 1956.
Shearing Piano, Capitol, 1956.
Shearing on Stage, Capitol, 1957.
In the Night, Capitol, 1957.
Latin Affair, Capitol, 1958.
Burnished Brass, Capitol, 1958.
Blue Chiffon, Capitol, 1958.
On the Sunny Side of the Strip, Capitol, 1959.
White Satin, Capitol, 1960.
San Francisco Scene, Capitol, 1960.
The Swingin’s Mutual, Capitol, 1960.
Mood Latino, Capitol, 1961.
Satin Affair, Capitol, 1961.
George Shearing and the Montgomery Brothers, Jazzland, 1961; reissued, Original Jazz Classics, 1989.
Jazz Moments, Capitol, 1962; reissued, Blue Note, 1995.
Nat "King," Cole Sings/George Shearing Plays, Capitol, 1962; reissued, Capitol, 1991.
Shearing Bossa Nova, Capitol, 1962.
Soft and Silky, MGM, 1962.
Latin Rendezvous, Capitol, 1963.
Out of the Woods, Capitol, 1964.
That Fresh Feeling, Capitol, 1966.
Out of This World, Sheba, 1970.
The George Shearing Quartet, Sheba, 1972.
The George Shearing Trio, Vol. 1, Sheba, 1973.
Light Airy and Swinging, MPS, 1974.
Live, Concord Jazz, 1979.
Blues Alley Jazz, Concord Jazz, 1980.
Two for the Road, Concord, 1980.
Alone Together, Concord Jazz, 1981.
An Evening with George Shearing and Mel Torme, Concord Jazz, 1982.
First Edition, Concord Jazz, 1982.
Live at the Cafe Carlyle, Concord Jazz, 1984.
Grand Piano, Concord Jazz, 1985.
George Shearing and Barry Tuckwell Play the Music of Cole Porter, Concord Concerto, 1986.
Breakin’ Out, Concord Jazz, 1987.
In Dixieland, Concord Jazz, 1989.
The Spirit of 176, Concord Jazz, 1989.
Piano, Concord Jazz, 1990.
(With Mel Torme) Mel and George "Do," World War II, Concord Jazz, 1991.
I Hear a Rhapsody: Live at the Blue Note, Telarc, 1992.
Midnight on Cloud 69, Savoy, 1993.
My Ship, Verve, 1994.
That Shearing Sound, Telare, 1994.
Walkin’: Live at the Blue Note, Telare, 1995.
The Best of George Shearing, Capitol, 1995.
The Best of George Shearing, Vol. 2, Capitol, 1997.
Favorite Things, Telare, 1997.

Sources
Books
Swenson, John, editor, Rolling Stone Jazz & Blues Album Guide, Random House, 1999.

Periodicals
Audio, January 1995.
Billboard, April 10, 1999; June 19, 1999; November 20, 1999.
Chicago Tribune, February 13, 1997.
Down Beat, November 1992; August 1993; October 1994.
Fortune, May 26, 1997.
Los Angeles Times, July 28, 1995; August 4, 1995; October 28, 1996; December 2, 1997; January 23, 1998.
New York Times, December 3, 1999.
People, June 21, 1999.
Stereo Review, April 1995.

Online
All Music Guide, http://www.allmusic.com (March 19, 2000).
CD Review: George Shearing Biography, http://www.allaboutjaz.com/bios/gsbio.htm (March 19, 2000).
The Jazz Corner—George Shearing, http://www.thejazzcorner.com/performers/performer_shearing.htm (March 19, 2000).
Steve Capra’s Interview with George Shearing, http://www.xlnt-arts.com/stevecapra/intervie/shearing.htm (March 19, 2000).
AMG AllMusic Guide: Pop Artists:

George Shearing

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  • Genres: Jazz

Biography

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet -- so much so that, in the usual jazz tradition of distrusting popular success, he tended to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday.

The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo, and Armando Peraza. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflected the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum, and Bud Powell -- and fellow pianists long admired his light, refined touch. He was also known to play accordion and sing in a modest voice on occasion.

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stéphane Grappelli's London-based groups of the early '40s, and winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-1955) and Capitol (1955-1969), the latter for which he made albums with Nancy Wilson, Peggy Lee, and Nat King Cole. He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras.

After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in 1978. He started his own label, Sheba, which lasted for a few years into the early '70s -- and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Tormé, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones, and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences came into play. He signed with Telarc in 1992 and from that point through the early 2000s continued to perform and record, most often appearing in a duo or trio setting. Shearing, who had remained largely inactive since 2004 after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, 2011. He was 91. ~ Richard S. Ginell, Rovi
Wikipedia on Answers.com:

George Shearing

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Home > Library > Miscellaneous > Wikipedia
George Shearing
Born August 13, 1919(1919-08-13)
Battersea, London, England
Died February 14, 2011(2011-02-14) (aged 91)
New York City, New York, U.S.
Genres Jazz
Bebop
Swing
Cool jazz
Occupations Musician
Instruments Piano
Years active 1947–2011
Labels MGM
Capitol
Concord
Savoy
Website www.georgeshearing.net/

Sir George Shearing, OBE (August 13, 1919 – February 14, 2011) was an Anglo-American jazz pianist who for many years led a popular jazz group that recorded for Discovery Records, MGM Records and Capitol Records. The composer of over 300 titles, he had multiple albums on the Billboard charts during the 1950s, 1960s, 1980s and 1990s.[1] He died of heart failure on February 14, 2011 in New York City, at the age of 91.

Contents

Early life

Born in Battersea, London, Shearing was the youngest of nine children. He was born blind to working class parents: his father delivered coal and his mother cleaned trains in the evening. He started to learn piano at the age of three and began formal training at Linden Lodge School for the Blind, where he spent four years.[2]

Though offered several scholarships, Shearing opted to perform at a local pub, the Mason's Arms in Lambeth, for "25 bob a week"[3] playing piano and accordion. He even joined an all-blind band during that time and was influenced by the albums of Teddy Wilson and Fats Waller.[1] He made his first BBC radio appearance during this time after befriending Leonard Feather, with whom he started recording in 1937.[2] In 1940, Shearing joined Harry Parry's popular band and contributed to the comeback of Stéphane Grappelli. Shearing won seven consecutive Melody Maker polls during this time. Around that time he was also a member of George Evans's Saxes 'n' Sevens band.

U.S. Years

In 1947, Shearing emigrated to the United States, where his harmonically complex style mixing swing, bop and modern classical influences gained popularity. One of his first performances in the US was at the Hickory House. He performed with the Oscar Pettiford Trio and led a quartet with Buddy DeFranco, which led to contractual problems, since Shearing was under contract to MGM and DeFranco to Capitol Records. In 1949, he formed the first 'George Shearing Quintet', a band with Margie Hyams (vibraphone), Chuck Wayne (guitar), later replaced by Toots Thielemans (listed as John Tillman—), John Levy (bass) and Denzil Best (drums) and recorded for Discovery, Savoy and MGM, including the immensely popular single "September in the Rain" (MGM), which sold over 900,000 copies; "my other hit" to accompany "Lullaby of Birdland". Shearing, himself, would write of this hit that it was "as accidental as it could be."[3] Shearing credited the Glenn Miller Orchestra's reed section of the late 1930s and early 1940s as an important influence.

Shearing's interest in classical music resulted in some performances with concert orchestras in the 1950s and 1960s, and his solos frequently drew upon the music of Satie, Delius and Debussy for inspiration. He became known for a piano technique known as "Shearing's voicing," a type of double melody block chord, with an additional fifth part that doubles the melody an octave lower. In 1956, he became a naturalized citizen of the United States.[3] He continued to play with his quintet, with augmented players through the years, and recorded with Capitol until 1969. He created his own label, Sheba, that lasted a few years. Along with dozens of musical stars of his day, Shearing appeared on ABC's The Pat Boone Chevy Showroom. Earlier, he had appeared on the same network's reality show, The Comeback Story, in which he discusses how to cope with blindness.

Later career

In 1970, he began to "phase out his by-now-predictable quintet"[1] and disbanded the group in 1978. One of his more notable albums during this period was The Reunion, with George Shearing (Verve 1976), made in collaboration with bassist Andy Simpkins and drummer Rusty Jones, and featuring Stéphane Grappelli, the musician with whom he had debuted as a sideman decades before. Later, Shearing played with a trio, as a soloist and increasingly in a duo. Among his collaborations were sets with the Montgomery Brothers, Marian McPartland, Brian Q. Torff, Jim Hall, Hank Jones and Kenny Davern. In 1979, Shearing signed with Concord Records, and recorded for the label with Mel Tormé. This collaboration garnered Shearing and Tormé two Grammys, one in 1983 and another in 1984. Shearing remained fit and active well into his later years and continued to perform, even after being honoured with an Ivor Novello Lifetime Achievement Award in 1993. He never forgot his native country and, in his last years, would split his year between living in New York and Chipping Campden, Oxfordshire, UK, where he'd bought a house with his second wife, singer Ellie Geffert. This gave him the opportunity to tour the UK, giving concerts, often with his long-time friend and collaborator, Mel Tormé, backed by with BBC Big Band. He was appointed OBE in 1996. In 2007, he was knighted. "So," he noted later, "the poor, blind kid from Battersea became Sir George Shearing. Now that's a fairy tale come true."

In 2004, he released his memoirs, 'Lullaby of Birdland', which was accompanied by a double album "musical autobiography", 'Lullabies of Birdland'. Shortly afterwards, however, he suffered a fall at his home and retired from regular performing.

Personal life

Shearing was married twice, first to the former Trixie Bayes, to whom he was married from 1941 to 1973. Two years after his divorce he married his second wife, the singer Ellie Geffert. Geffert survived him after he died on February 14, 2011.[4]

Awards & honors

  • In 1993, received the Ivor Novello Awards for Lifetime Achievement.
  • In 1994, received honorary degree of Doctor of Music from Hamilton College in New York.
  • In 1996, was included in the Queens Birthday Honours List and was invested by Queen Elizabeth II at Buckingham Palace as an Officer of the Order of the British Empire for his "service to music and Anglo-US relations".
  • In 1998, received the first American Music Award by the National Arts Club, New York City.
  • In 2002, received an honorary degree of Doctor of Music from DePauw University in Indiana.
  • In 2003, received the "Lifetime Achievement Award" from BBC Jazz Awards.[5]
  • In 2007, was knighted for services to music.

Discography

  • 1947: Piano Solo — Savoy
  • 1947: Great Britain's Marian McPartland & George Shearing — Savoy Jazz (Released 1994)
  • 1949: Midnight on Cloud 69 — Savoy
  • 1949: George Shearing Quintet — Discovery
  • 1950: You're Hearing George Shearing and his Quintet — MGM (E-3216)
  • 1951: An Evening with the George Shearing Quintet
  • 1951: Souvenirs — London
  • 1951: Touch of Genius — MGM
  • 1952: I Hear Music — Metro
  • 1955: Shearing Caravan — MGM
  • 1955: Shearing in Hi Fi — MGM
  • 1955: The Shearing Spell — Capitol
  • 1956: Latin Escapade — Capitol
  • 1956: Black Satin — Capitol (T858)
  • 1956: By Request — London
  • 1956: Velvet Carpet — Capitol
  • 1957: Shearing on Stage — Capitol
  • 1958: Blue Chiffon — Capitol
  • 1958: Burnished Brass — Capitol
  • 1958: Latin Lace — Capitol
  • 1958: George Shearing on Stage! — Capitol
  • 1958: Latin Affair — Capitol
  • 1958: In the Night with Dakota Staton — Capitol
  • 1959: Satin Brass — Capitol
  • 1959: Satin Latin — MGM
  • 1959: Beauty and the Beat! (with Peggy Lee) — Capitol
  • 1960: San Francisco Scene — Capitol
  • 1960: On the Sunny Side of the Strip — GNP
  • 1960: The Shearing Touch — Capitol (T1472)
  • 1960: White Satin — Capitol
  • 1961: George Shearing and the Montgomery Brothers — Jazz
  • 1961: Mood Latino — Capitol
  • 1961: Nat King Cole Sings/George Shearing Plays (with Nat King Cole) — Capitol
  • 1961: Satin Affair — Capitol
  • 1961: The Swingin's Mutual! (with Nancy Wilson) — Capitol
  • 1962: Concerto For My Love - ST-1755 Capitol
  • 1962: Jazz Moments — Blue Note
  • 1962: Shearing Bossa Nova — Capitol
  • 1962: Soft and Silky — MGM
  • 1962: Smooth & Swinging — MGM
  • 1963: Touch Me Softly — Capitol
  • 1963: Jazz Concert — Capitol
  • 1963: Rare Form — Capitol
  • 1963: Old Gold and Ivory — Capitol
  • 1963: Latin Rendezvous — Capitol
  • 1964: Out of the Woods — Capitol
  • 1964: Deep Velvet — Capitol
  • 1966: That Fresh Feeling — Capitol
  • 1966: Live Jazz from Club 15 — Request (Live, released 2006)
  • 1969: In the Mind — Capitol
  • 1970: Out of This World (Sheba Records)
  • 1971: The Heart and Soul of George Shearing and Joe Williams (Sheba)
  • 1972: As Requested (Sheba)
  • 1972: Music to Hear (Sheba)
  • 1972: The George Shearing Quartet (Sheba)
  • 1973: GAS (Sheba)
  • 1973: The George Shearing Trio, Vol. 1
  • 1974: Light Airy and Swinging — MPS/BASF
  • 1974: Swinging in a Latin Mood — MPS/BASF
  • 1974: My Ship — MPS/BASF
  • 1974: The Way We Are — MPS/BASF
  • 1975: The Best of George Shearing — Capitol
  • 1975: Continental Experience — MPS/BASF
  • 1976: The Many Facets of George Shearing - MPS/BASF
  • 1976: The Reunion — MPS/BASF (with Stephane Grappelli)
  • 1977: Windows — MPS/BASF
  • 1977: 500 Miles High - MPS/BASF
  • 1977: Feeling Happy - MPS/BASF
  • 1979: Getting in the Swing of Things — MPS/BASF
  • 1979: Live — Concord Jazz
  • 1979: Blues Alley Jazz (Live) — Concord Jazz
  • 1979: Concerto for Classic Guitar and Jazz Piano — Angel
  • 1980: Two for the Road (with Carmen McRae) — Concord
  • 1980: In Concert at the Pavilion — Concord Jazz
  • 1980: On a Clear Day — Concord Jazz
  • 1981: Alone Together — (with Marian McPartland) Concord Jazz
  • 1981: First Edition — Concord Jazz
  • 1982: An Evening with George Shearing & Mel Tormé (Live, with Mel Tormé)
  • 1983: Top Drawer — Concord Jazz (Live, with Mel Tormé)
  • 1984: Live at the Cafe Carlyle — Concord
  • 1985: An Elegant Evening — Concord Jazz (with Mel Tormé)
  • 1985: Grand Piano — Concord Jazz
  • 1986: Plays Music of Cole Porter — Concord
  • 1986: More Grand Piano — Concord Jazz
  • 1987: A Vintage Year — Concord Jazz (Live, with Mel Tormé)
  • 1987: Breakin' Out — Concord Jazz
  • 1987: Dexterity — Concord Jazz (Live, featuring Ernestine Anderson)
  • 1988: The Spirit of 176 — Concord Jazz (with Hank Jones)
  • 1988: Perfect Match — Concord Jazz (with Ernestine Anderson)
  • 1989: George Shearing in Dixieland — Concord
  • 1989: Piano — Concord Jazz
  • 1990: Mel and George "Do" World War II — Concord (Live, with Mel Tormé)
  • 1991: Get Happy! - EMI Classics
  • 1992: I Hear a Rhapsody: Live at the Blue Note - Telarc (Live)
  • 1992: Walkin': Live at the Blue Note — Telarc (Live)
  • 1992: How Beautiful Is Night — Telarc
  • 1994: That Shearing Sound — Telarc
  • 1994: Cocktail for Two — Jazz World
  • 1995: Paper Moon: Songs of Nat King Cole
  • 1997: Favorite Things — Telarc
  • 1998: Christmas with The George Shearing Quintet — Telarc
  • 2000: Just for You: Live in the 1950s — Jazz Band
  • 2001: Live at the Forum, Bath 1992 — BBC Legends (Live)
  • 2001: Back to Birdland — Telarc (Live)
  • 2002: The Rare Delight of You (with John Pizzarelli) - Telarc
  • 2002: Pick Yourself Up — Past Perfect
  • 2002: Here and Now. New Look - with G.S. Quintet and String Choir
  • 2004: Like Fine Wine — Mack Avenue
  • 2005: Music to Hear — Koch
  • 2005: Hopeless Romantics (with Michael Feinstein) — Concord

Filmography

  • 2003: George Shearing - Jazz Legend
  • 2004: George Shearing: Lullaby of Birdland[6]
  • 2004: Swing Era - George Shearing
  • 2004: Joe Williams with George Shearing: A Song is Born[7]
  • 2005: Duo Featuring Neil Swainson

References

  1. ^ a b c Richard S. Ginell. "George Shearing". http://www.allmusic.com/artist/p7527. Retrieved 2007-02-26. 
  2. ^ a b "George Shearing Biography". http://www.allaboutjazz.com/php/musician.php?id=1961. Retrieved 2007-02-26. 
  3. ^ a b c George Shearing w/ Les Tomkins (1966). "George Shearing: How I found the Sound". http://www.jazzprofessional.com/interviews/George%20Shearing_1. Retrieved 2007-02-26. 
  4. ^ Jake Coyle, " Jazz pianist George Shearing dies at 91," Associated Press, Feb. 14, 2011 http://apnews.myway.com/article/20110214/D9LCMR500.html
  5. ^ BBC Jazz Awards
  6. ^ VIEW DVD Listing
  7. ^ VIEW DVD Listing

External links

Main sites

Other


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American Heritage Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.  Read more
Gale Musician Profiles. Contemporary Musicians © 1989-2010 The Gale Group, Inc. All rights reserved.  Read more
AMG AllMusic Guide: Pop Artists. Copyright © 2012 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
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