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| 3.324 Ft
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| 1. | Stella by Starlight
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| 2. | On the Street Where You Live
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| 3. | Guilty
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| 4. | Friendly Persuasion
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| 5. | For Every Man There's a Woman
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| 6. | It Might as Well Be Spring
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| 7. | High on a Windy Hill
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| 8. | If
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| 9. | A Tune for Humming
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| 10. | Sigh No More
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| 11. | My Funny Valentine
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| 12. | In the Still of the Night
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| 13. | So Would I
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| 14. | Tenderly
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| 15. | Can't We Be Friends?
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| 16. | It Never Entered My Mind
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| 17. | Memories of You
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| 18. | Don't Explain
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| 19. | Homesick, That's All
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| 20. | Reverie
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Jazz
George Shearing - Piano
* Michael Cuscuna - Reissue Producer
* Patrick Roques - Reissue Design
* Ron McMaster - Mastering
This is one of the earliest releases to feature George Shearing exclusively as a solo pianist, and the CD reissue of the long unavailable LP adds ten previously unissued tracks. He is rather surprisingly low-key on most of these interpretations, even though they are mostly ballads, possibly because of Capitol's original marketing concept. "Stella by Starlight" is especially odd, starting off rather dreamy and evolving into more of an arrangement that sounds as if a classical pianist is making a crossover recording. Many of the other songs have long since disappeared from the jazz scene (if any of them were regularly played) since the original record came out in the 1950s; they include long forgotten songs such as "Guilty," "Friendly Persuasion," "High on a Windy Hill," and "Sigh No More." The newly added material includes a version of "My Funny Valentine," which has a rather unusual bassline and later hints at various classical composers, especially Mozart. Music by Rachmaninov is incorporated into his arrangement of "Tenderly," and a theme by Poulenc is worked into "On the Street Where You Live"; there's also an interpretation of Debussy's "Reverie." Although this isn't a very representative release from George Shearing's considerable discography (spanning over a half century), it should not be condemned because it doesn't sound like his better-known jazz recordings. As long as one isn't expecting Shearing's typical locked hands and often humor-filled style that's heard on most of his releases, this CD should please any jazz fan who is in the mood for something mellow.
---Ken Dryden, All Music Guide
George Shearing
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 13, 1919 in London, England
Genre: Jazz
Styles: Bop, Cool, Latin Jazz, Mainstream Jazz, Swing
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 tends 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 1950s. 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 is 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, reflects 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 have long admired his light, refined touch. He has also been 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 1930s, 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 Stephane Grappelli's London-based groups of the early 1940s, 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 (1950-55) and Capitol (1955-69), the latter for which he made albums with Nancy Wilson, Peggy Lee and Nat 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-now-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 Torme, 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 come into play. He continued to play beautifully in several formats after signing with Telarc in 1992, extending what had become one of the longest, most prolific recording careers in jazz history.
--- Richard S. Ginell, All Music Guide |
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