VA - Jazz Yule Love

Styles: Hard Bop, Holiday
Year: 2002
File: MP3@128K/s
Time: 50:56
Size: 50,3 MB
Art: Front

(6:30) 1. We Three Kings
(4:00) 2. White Christmas
(5:38) 3. Winter Wonderland
(3:03) 4. Sleigh Ride
(4:22) 5. It's the Most Wonderful Time of the Year
(3:29) 6. Christmas Heart
(4:03) 7. O Tannenbaum
(2:47) 8. Silent Night
(3:33) 9. O Come All Ye Faithful
(4:14) 10. A Child Is Born
(6:58) 11. Joy to the World
(2:19) 12. Angels We Have Heard on High

While in the studio the previous year with many of the legendary artists on his roster, working on their individual projects, Crusaders legend and Mack Avenue Records president Stix Hooper had a festive idea: get the likes of Terry Gibbs, Cedar Walton, Pete Jolly, George Shearing, Les McCann, Teddy Edwards, Eugene Maslov, and Kenny Burrell to take five and stir up the Christmas spirit with a Yuletide tune.

The resulting compilation, Jazz Yule Love, is an instant classic, a swinging traditional jazz sampler that showcases these cats at the peak of their game, being highly creative and improvisational amid the comfort of tunes everyone knows (and a McCann original everyone might not). Jolly's take on "It's the Most Wonderful Time of the Year" is especially hard-driving, and Gibbs' lighthearted take on "White Christmas" reminds you of the childlike joys of the season.

Jolly tones down for a reading of "O Tannenbaum" that invokes the subtle old arrangement of Vince Guaraldi. Overall, a beautiful and festive way to become familiar with the label and with some of the greatest jazz players of all time.By Jonathan Widran https://www.allmusic.com/album/release/jazz-yule-love-mr0000305943

Jazz Yule Love

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George Shearing - Lullaby Of Birdland

Bitrate: MP3@320K/s
Time: 42:34
Size: 97.5 MB
Styles: Piano jazz
Year: 1953
Art: Front

[2:39] 1. Lullaby Of Birdland
[3:02] 2. I'll Never Smile Again
[2:41] 3. I Remember You
[2:54] 4. My Silent Love
[2:29] 5. They All Laughed
[2:31] 6. Loose Leaf
[2:32] 7. Minoration
[3:15] 8. Midnight Mood
[2:48] 9. Simplicity
[2:23] 10. Over The Rainbow
[2:47] 11. How High The Moon
[2:42] 12. When Lights Are Low
[2:17] 13. Basic English
[2:34] 14. I Hear A Rhapsody
[2:36] 15. Undecided
[2:18] 16. Lullaby Of Birdland

About the song "Lullaby Of Birdland": George Shearing's biggest hit is easily "Lullaby of Birdland," which is based on the chord changes to the now easily overshadowed standard "Love Me or Leave Me." This swinging tune caught on as the theme song used during radio broadcasts from the original Birdland club, with both swing bands and boppers alike putting their touch on it. Shearing's song has never really fallen out of favor since he first recorded it for MGM in 1952, countless recordings (either studio, concert or air checks from Birdland broadcasts) have been issued commercially; some of the many musicians who can be heard playing it include Duke Ellington, Count Basie, Coleman Hawkins, Lester Young, Bud Powell, Stan Getz, Erroll Garner, Miles Davis, Art Blakey and even Charlie Parker, for whom Birdland was named. Once lyrics were added by George Weiss, its appeal widened to singers such as Ella Fitzgerald, Sarah Vaughan and Mel Torme. Shearing has revisited his magnum opus on several occasions, and it still must bring in fairly hefty royalties for its composer, as its appeal has hardly declined since its initial surge of popularity. ~Ken Dryden

Lullaby Of Birdland

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George Shearing - The Outlaw

Styles: Piano Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 74:19
Size: 171,5 MB
Art: Front

(2:09) 1. The Outlaw
(3:50) 2. The Be-bop Irishman
(3:12) 3. I'll Be Around
(3:55) 4. Jumpin' With Symphony Sid
(6:13) 5. This Nearly Was Mine
(4:04) 6. My New Mambo
(2:29) 7. When April Comes Again
(3:17) 8. Monophraseology
(2:39) 9. Cocktails For Two
(4:13) 10. Jordu
(3:01) 11. As I Love You
(4:44) 12. Confirmation
(3:57) 13. The Nearness Of You
(3:25) 14. Mambo Inn
(3:34) 15. Bernie's Tune
(4:10) 16. Some Other Spring
(4:30) 17. Joy Spring
(5:57) 18. Drume Negrita
(4:50) 19. Lullaby Of Birdland

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 from 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 millions of records for MGM and Capitol in his heyday.

The wild success of this urbane sound obscured Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. 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 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 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, 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, 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. 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.By Richard S. Ginell https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

The Outlaw

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Dave Brubeck - Young Lions & Old Tigers

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 63:28
Size: 146,0 MB
Art: Front

(5:29)  1. Roy Hargrove
(2:33)  2. How High the Moon
(4:57)  3. Michael Brecker Waltz
(3:27)  4. Here Comes McBride
(3:51)  5. Joe Lovano Tango
(7:52)  6. In Your Own Sweet Way
(6:22)  7. Joshua Redman
(5:43)  8. Together
(6:59)  9. Moody
(4:46) 10. Gerry-Go-Round
(6:43) 11. Ronnie Buttacavoli
(4:41) 12. Deep in a Dream

To celebrate his 75th birthday, Dave Brubeck recorded one number apiece with quite a variety of top jazz stars, both young and old. Some of the performances (which alternate duets with quartets) work better than others (eight are recent Brubeck compositions) but all of the musicians display mutual respect, and it is obvious that the guests are all fans of the still-masterful pianist. Trumpeter Roy Hargrove plays beautifully on his lyrical feature but Jon Hendricks, who sings "How High the Moon" as a ballad, takes it at such a slow tempo as to be dreary. Tenor-saxophonist Michael Brecker is fine on "Michael Brecker Waltz," although he sounds a bit restrained, the wittily-titled "Here Comes McBride" is a good-humored romp with bassist Christian McBride; Joe Lovano (on tenor) works well with Brubeck, and particularly memorable is the first meeting on record between Brubeck and fellow pianist George Shearing, with a chance-taking interpretation of "In Your Own Sweet Way." 

Joshua Redman performs fine hard bop on one song, "Together," is a well-conceived duet for baritonist Gerry Mulligan and Brubeck, James Moody plays tenor, sings, and yodels on the minor blues "Moody," Mulligan returns for the contrapuntal "Gerry-Go-Round," and, although the obscure flugelhornist Ronnie Buttacavoli sounds very out of place on his boring feature, the set closes with one of the strongest performances, a solo piano showcase for Brubeck on "Deep in a Dream." Overall, this is quite a mixed bag but, even with its occasional misses, the CD is a must for Dave Brubeck fans, because the pianist is consistently inventive throughout the unusual set. ~ Scott Yanow  http://www.allmusic.com/album/young-lions-old-tigers-mw0000176313

Personnel: Dave Brubeck (piano); James Moody (vocals, tenor saxophone); Jon Hendricks (vocals); Michael Brecker, Joe Lovano, Joshua Redman (tenor saxophone); Gerry Mulligan (baritone saxophone); Roy Hargrove (trumpet); Ronnie Buttacavoli (flugelhorn); George Shearing (piano); Chris Brubeck (electric bass); Christian McBride, Jack Six (bass); Randy Jones (drums).

Young Lions & Old Tigers

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George Shearing, Barry Tuckwell - Play The Music Of Cole Porter

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 43:36
Size: 100,6 MB
Art: Front

(4:58) 1. I Concentrate On You
(2:54) 2. Everything I Love
(4:43) 3. I've Got You Under My Skin (Album Version)
(2:19) 4. Easy To Love
(2:45) 5. In The Still Of The Night
(4:00) 6. Every Time We Say Goodbye
(2:41) 7. But In The Morning, No
(5:32) 8. So In Love
(4:27) 9. After You
(3:55) 10. All Through The Night
(5:16) 11. Do I Love You?

Released as part of Concord's Concerto subsidiary, this unusual release matches together pianist George Shearing with the classical French horn player Barry Tuckwell for a set of 11 Cole Porter songs. Five selections use a full string section, two are performed with a quartet, and four others are duets by Shearing and Tuckwell. In general, Tuckwell does not improvise, but Shearing's arrangements give a jazz feel to all of the performances and make the music accessible (if not really essential) to both classical and jazz listeners.~Scott Yanowhttps://www.allmusic.com/album/play-the-music-of-cole-porter-mw0000188648

Personnel: George Shearing – piano, liner notes, arranger; Barry Tuckwell – french horn, liner notes; Guildhall String Ensemble; Harry Lookofsky, Frederick Buldrini, Lewis Eley, Maura Giannini, Carmel Malin, Joseph Malin, Louann Montesi – violin; Seymour Barab, Avron Coleman, Frederick Zlotkin – cello; John Clayton, Don Thompson – double bass; Grady Tate – drums, percussion

Play The Music Of Cole Porter

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George Shearing Quintet - Rare Form

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 35:57
Size: 83,6 MB
Art: Front

(2:51) 1. The Sweetest Sounds
(2:04) 2. Look No Further
(3:59) 3. Hallucinations
(3:06) 4. Sunny
(2:45) 5. They All Laughed
(2:50) 6. Station Break
(2:52) 7. Over The Rainbow
(3:28) 8. Why Not
(3:15) 9. I'll Never Smile Again
(8:41) 10. Stop, Look And Listen

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 https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Personnel: George Shearing - piano, arranger; Armando Peraza - percussion; Gary Burton - vibraphone; Ron Anthony - guitar; Gene Cherico - double bass; Vernel Fournier - drums

Rare Form

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George Shearing Quintet - Latin Lace

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 30:50
Size: 72,8 MB
Art: Front

(2:31)  1. The Story Of Love
(2:45)  2. Serenata
(2:05)  3. Tu, Mi Delirio
(2:50)  4. Cali Mambo
(2:52)  5. Rondo
(2:45)  6. To The Ends Of The Earth
(2:42)  7. The Moon Was Yellow
(2:33)  8. Wonder Struck
(2:09)  9. Sand In My Shoes
(2:59) 10. Mambo Caribe
(1:51) 11. It's Not For Me To Say
(2:42) 12. Mambo #2

The second of pianist George Shearing's full-length Latin albums once again finds his quintet (with vibraphonist Emil Richards, guitarist Toots Thielemans, bassist Al McKibbon and drummer Percy Brice) being joined by the exciting congas of Armando Peraza. Most of the easy-listening melodies are from south of the border, but even the ones that aren't (such as "The Story of Love," "The Moon Was Yellow" and "It's Not for Me to Say") are given a Latinized treatment. This is nice (if rather safe) music but the LP is long out of print.~ Scott Yanow https://www.allmusic.com/album/latin-lace-mw0000891823

Personnel:  George Shearing – piano; Toots Thielemans – guitar; Al McKibbon – double bass; Armando Peraza – congas; Emil Richards – vibraphone; Percy Brice – drums; Dave Cavanaugh – producer

Latin Lace

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George Shearing With Brass Choir - Burnished Brass

Styles: Piano Jazz 
Year: 1958
File: MP3@320K/s
Time: 33:59
Size: 80,6 MB
Art: Front

(3:07)  1. Memories Of You
(2:15)  2. Lulu's Back In Town
(2:48)  3. If You Were Mine
(3:04)  4. Burnished Brass
(2:27)  5. These Things You Left Me
(2:49)  6. Mine
(2:26)  7. Beautiful Love
(2:41)  8. Cuckoo In The Clock
(3:44)  9. Sometimes I Feel Like A Motherless Child
(2:44) 10. Cheek To Cheek
(3:12) 11. Blame It On My Youth
(2:38) 12. Basie's Masement

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 https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Burnished Brass

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George Shearing & Don Thompson - George Shearing at Home

Styles: Piano Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 56:59
Size: 132,2 MB
Art: Front

(4:35)  1. I Didn't Know What Time It Was
(2:50)  2. A Time for Love
(5:51)  3. Ghoti
(3:01)  4. The Things We Did Last Summer
(4:50)  5. Laura
(4:13)  6. The Skye Boat Song
(5:42)  7. Confirmation
(2:50)  8. The Girl Next Door
(2:24)  9. Can't We Be Friends?
(5:07) 10. I Cover the Waterfront
(3:18) 11. Out of Nowhere
(3:06) 12. That Old Devil Called Love
(5:09) 13. Subconsciouslee
(3:56) 14. Beautiful Love

Pianist Sir George Shearing (1919—2011) was himself an integral part of the be bop jazz movement in the late 1940s. His quintet that featured vibraphone and guitar with the standard piano trio was sonically ground breaking. His precise and measured piano style influenced a generation of pianists and several of his compositions ("Lullaby of Birdland" and "Conception") have become jazz standards. He was not flashy, but a solid, well-considered player whose playing could always be counted on to be elegant and durable. These fourteen tracks were recorded in Shearing's home during a six-week residency at a New York City jazz club in 1983. Bassist Don Thompson, with whom Shearing made these recordings, found them shortly after Shearing's 2011 death at 91. More than aurally acceptable, these recordings reveal a relaxed and swinging Shearing, playing as effortlessly as if it were the easiest thing in the world. Thompson provides expert timekeeping and some piquant soloing of his own on this diverse collection of 20th Century music. David Raksin's "Laura" shimmers while the Styne/Cahn classic "The Things We Did Last Summer" bounces with a restful and quaint stride. The be bop of Charlie Parker's "Confirmation" is fresh and the abstract and angular "SubconsciousLee" bares all the edges, sharp and smooth. George Shearing at home is a treat in the same way, (Vladimir) Horowitz at Home (Deutsche Grammophon, 1989) was both men were relaxed and at the top of their game. ~ C.Michael Bailey https://www.allaboutjazz.com/george-shearing-at-home-george-shearing-proper-records-review-by-c-michael-bailey.php

Personnel: George Shearing: piano; Don Thompson: bass.

George Shearing at Home

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The George Shearing Trio - 500 Miles High

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 43:07
Size: 99,6 MB
Art: Front

(2:50)  1. Cheryl
(4:48)  2. 500 Miles High
(5:29)  3. I Wished On The Moon
(4:32)  4. Old Folks
(5:13)  5. Jordu
(7:33)  6. P.S. I Love You
(3:54)  7. Everything Happens To Me
(5:40)  8. Here's That Rainy Day
(3:04)  9. Invitation

The most underrated recordings of George Shearing's career were his trio sets made in the mid-'70s for MPS after the breakup of his popular Quintet. This particular LP is one of three that feature the brilliant pianist in a drumless trio with guitarist Louis Stewart and bassist Niels Pedersen. The music is essentially bop-based with just one newer song (an interesting version of Chick Corea's "500 Miles High") included among the nine standards. The more memorable selections are "I Wished on the Moon," "Old Folks" and "Here's That Rainy Day." Tasteful performances with plenty of subtle surprises. ~ Scott Yanow https://www.allmusic.com/album/500-miles-high-mw0000893509

Personnel: Piano – George Shearing; Bass – Niels Henning Ørsted-Pedersen; Guitar – Louis Stewart

500 Miles High

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George Shearing Quintet And Orchestra - White Satin

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 34:26
Size: 80,0 MB
Art: Front

(2:57)  1. Your Name Is Love
(2:30)  2. Dream
(2:56)  3. Laura
(2:57)  4. There's A Small Hotel
(3:13)  5. Old Folks
(2:06)  6. Blue Malibu
(3:14)  7. How Long Has This Been Going On?
(2:38)  8. Love's Melody
(3:06)  9. An Affair To Remember
(3:02) 10. There'll Be Another Spring
(3:00) 11. Moonlight Becomes You
(2:40) 12. I'll Take Romance

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 https://www.allmusic.com/artist/george-shearing-mn0000642664/biography
 

Personnel:  George Shearing – piano;  Billy May – arranger

White Satin

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Nat King Cole, George Shearing - Nat King Cole Sings George Shearing Plays

Bitrate: MP3@320K/s
Time: 46:07
Size: 105.6 MB
Styles: Vocal, Piano jazz
Year: 1962/1987/2000
Art: Front

[2:56] 1. September Song
[3:12] 2. Pick Yourself Up
[3:39] 3. I Got It Bad (And That Ain't Good)
[2:42] 4. Let There Be Love
[3:51] 5. Azure-Te
[3:20] 6. Lost April
[2:37] 7. A Beautiful Friendship
[3:27] 8. Fly Me To The Moon (In Other Words)
[2:58] 9. Serenata
[3:26] 10. I'm Lost
[2:22] 11. There's A Lull In My Life
[2:28] 12. Don't Go
[3:16] 13. Everything Happens To Me
[2:54] 14. The Game Of Love
[2:50] 15. Guess I'll Go Back Home

This 1961 album is a classic. It not only spawned a long-running chart hit (Let There Be Love) but it paired two of the most talented jazzmen in a true meeting of minds. George Shearing called it “one of my favourite albums of all time” and gave as an example the time that Nat Cokle suggested they should play Pick Yourself Up. Shearing had already made a version of this tune famous with his trademark quintet and didn’t feel like doing it again, but Cole chose just the right tempo to refresh the song.

The two men were in a way blood brothers, both being important pianists and sharing an easy approach to swing which was both clever and accessible. Their empathy and generally gentle approach makes for a perfect blend. The above-mentioned Pick Yourself Up is an excellent example. Shearing’s previous version took the song at a fair lick but Cole turns down the intensity and increases the intimacy. George’s solo with his quintet is cushioned by discreet strings arranged by Ralph Carmichael.

Let There Be Love is still one of the outstanding tracks, with Shearing’s bluesy introduction wafted in on the strings before the key changes to bring in Nat’s enticing vocal. George’s piano is always subtle, making no attempt at dominance but behaving as the finest accompanist. Other notable tracks include A Beautiful Friendship, where the Shearing Quintet sound comes into its own, and the deliciously slow I’m Lost. Tracks 13 to 15 are extra tracks added to the original LP. The remaining items come from Nat Cole’s album 1962 LP Dear Lonely Hearts, which consists mainly of soupy countrified ballads overloaded with heavenly choirs. It seems like an anti-climax after the numbers with Shearing. But those numbers make this CD worth buying for its first 15 tracks alone. ~Tony Augarde

Nat King Cole Sings George Shearing Plays

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George Shearing - Tippin' In

Bitrate: MP3@320K/s
Time: 85:51
Size: 196.5 MB
Styles: Piano jazz
Year: 2018
Art: Front

[2:27] 1. Mambo In Chimes
[4:18] 2. Darn That Dream
[2:41] 3. Young And Foolish
[2:43] 4. One Note Samba
[2:35] 5. Basie's Masement
[2:43] 6. As I Love You
[2:42] 7. Let There Be Love
[2:59] 8. High On A Windy Hill
[2:21] 9. Lullaby Of Birdland
[2:46] 10. If I Had You
[4:49] 11. Little White Lies
[2:32] 12. All Too Soon
[2:34] 13. For Every Man There's A Woman
[2:35] 14. Black Satin
[3:46] 15. Double Deal
[2:51] 16. Isn't It Romantic
[2:47] 17. If
[3:08] 18. Pick Yourself Up
[2:29] 19. Autumn Leaves
[3:32] 20. Bernie's Tune
[3:14] 21. Guilty
[3:58] 22. Caravan
[2:47] 23. You Came A Long Way From St. Louis
[4:17] 24. Joy Spring
[2:50] 25. On The Street Where You Live
[3:27] 26. Fly Me To The Moon
[2:53] 27. Baubles, Bangles And Beads
[2:53] 28. A Tune For Humming

George Shearing enjoys an international reputation as a pianist, arranger and composer. Equally at home on the concert stage as in jazz clubs, Shearing is recognized for inventive, orchestrated jazz. He has written over 300 compositions, including the classic “Lullaby of Birdland,” which has become a jazz standard.

Shearing was born in 1919 in the Battersea area of London. Congenitally blind, he was the youngest of nine children. His father delivered coal and his mother cleaned trains at night after caring for the children during the day. His only formal musical education consisted of four years of study at the Linden Lodge School for the Blind. While his talent won him a number of university scholarships, he was forced to refuse them in favor of a more financially productive pursuit…playing piano in a neighborhood pub for the handsome salary of $5 a week! Shearing joined an all-blind band in the 1930’s. At that time he developed a friendship with the noted jazz critic and author, Leonard Feather. Through this contact, he made his first appearance on BBC radio.

In 1947, Mr. Shearing moved to America, where he spent two years establishing his fame on this side of the Atlantic. The Shearing Sound commanded national attention when, in 1949, he gathered a quintet to record “September in the Rain” for MGM. The record was an overnight success and sold 900,000 copies. His U.S. reputation was permanently established when he was booked into Birdland, the legendary jazz spot in New York. Since then, he has become one of the country’s most popular performing and recording artist. In 1982 and 1983 he won Grammy Awards with recordings he made with Mel Torme. Mr. Shearing was the subject of an hour-long television documentary entitled “The Shearing Touch” presented on the Southbank Show with Melvyn Bragg on ITV in the UK.

Three presidents have invited Mr. Shearing to play at the White House.. Ford, Carter and Reagan. He performed at the Royal Command Performance for Queen Elizabeth II and Prince Philip. He is a member of the Friars Club and the Lotos Club in New York and the Bohemian Club in San Francisco.

Tippin' In mc
Tippin' In zippy

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Joe Williams - Here's to Life

Styles: Vocal
Year: 1994
File: MP3@256K/s
Time: 59:31
Size: 110,6 MB
Art: Front

(5:37)  1. Here's To Life
(4:52)  2. What A Wonderful World
(4:17)  3. When I Fall In Love
(4:14)  4. I Found A Million Dollar Baby
(4:54)  5. If I Had You
(4:07)  6. Maybe September
(4:00)  7. Save That Time
(4:49)  8. Young And Foolish
(5:15)  9. I Didn't Know About You
(4:32) 10. Little Sir Echo
(4:58) 11. Someone You've Loved
(4:06) 12. A Time For Love
(3:44) 13. Here's To Life

Joe Williams loves the string arrangements of Robert Farnon and the sappy ballad "Here's to Life" but in truth the charts border on muzak and the slow tempoes on this Telarc CD have little variety. Reminiscent a bit of Nat King Cole's string sessions of the 1950s with Gordon Jenkins, there is little jazz content to this set. Williams is in particularly strong form, interpreting the ballads in dramatic and sensitive fashion, but, despite his charm, this is one of his lesser recordings. ~ Scott Yanow http://www.allmusic.com/album/heres-to-life-mw0000623648

Personnel: Joe Williams (vocals); Louis Stewart (guitar); Hugh Webb (harp); Liz Edwards, Belinda Bunt, Trevor Williams , Michael Berrow, Madeleine Whitelaw, Rachel Cohen, John Ronayne, Raymond Keenlyside, Diana Cummings, Raymond Cohen, Jonathan Strange, Celia Sheen, Homi Kanga, Gillian Cohen, Roy Wilson, Roger Garland (violin); John Underwood , Kenneth Essex, Michael Ponder (viola); Keith Harvey, Denis Vigay, Anthony Pleeth (cello); Dennis Walton, Peter Hughes , Tommy Whittle, Roy Willox (woodwinds); Paul Pritchard, John Rooke, John Pigneguy (French horn); Bill Geldard, Christopher Dean, Don Lusher (trombone); Laurie Holloway (piano, celesta); George Shearing (piano); Jack Parnell (drums).

Here's to Life

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George Shearing - The Many Facets Of George Shearing

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 50:11
Size: 118,1 MB
Art: Front

(4:56)  1. Here, There And Everywhere
(3:27)  2. Moonlight In Vermont
(3:09)  3. Yours Is My Heart Alone
(4:18)  4. It Never Entered My Mind
(5:14)  5. Things Ain't What They Used To Be
(3:40)  6. Mack The Knife
(3:15)  7. While We're Young
(6:40)  8. Pensativa
(4:05)  9. Falling In Love With You Again
(6:36) 10. Put Your Little Foot Right Out
(4:45) 11. Misty

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 http://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Personnel: Piano – George Shearing;  Bass – Andrew Simpkins

The Many Facets Of George Shearing

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George Shearing - The Way We Are

Styles: Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 39:45
Size: 92,3 MB
Art: Front

(2:36)  1. The Way We Were
(5:50)  2. Do You Know The Way To San Jose?
(2:51)  3. Killing Me Softly
(4:34)  4. The World Is A Ghetto
(5:16)  5. Superstar
(4:03)  6. Eleanor Rigby
(2:29)  7. Brian's Song
(3:28)  8. Aquarius
(4:02)  9. You Are The Sunshine Of My Life
(4:31) 10. Alone Again (Naturally)

The formula for the George Shearing Quintet was wearing very thin by the time of this 1974 release, although he adds two Latin percussionists to the group for variety. The lack of notable sidemen means that Shearing does almost all of the solos, excepting the guest percussionists, but the major weakness of this record is the inane material. While Stevie Wonder's "The Sunshine of My Life" has been successfully absorbed into the jazz repertoire, forgettable turkeys like "Do You Know the Way to San Jose," "Killing Me Softly," a Muzak-like rendition of "Superstar" (the sleep-inducing hit for Karen Carpenter written by Leon Russell), the insipid "The World Is a Ghetto," and especially the nauseating Gilbert O'Sullivan ballad "Alone Again (Naturally)" prove that even a first-rate musician can do little to make these tunes interesting to jazz listeners. 

One almost assumes that Leonard Feather's liner notes are tongue in cheek and that he had to force himself to say something positive about this dubious project. Long out of print since BASF's departure from the record-making business in the mid-'70s (possibly encouraged by flops like this), it's safe to say that fans of the earlier successes (and the later revival) of the George Shearing Quintet can safely bypass this extremely disappointing LP. ~ Ken Dryden http://www.allmusic.com/album/the-way-we-are-mw0000874525

Personnel:  Piano – George Shearing;  Bass – Andy Simpkins;  Bongos, Congas – Chino Valdes;  Drums – Rusty Jones;  Guitar – Sigi Schwab;  Timbales – Carmelo Garcia;  Vibraphone – Heribert Thusek

The Way We Are

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George Shearing Trio - Getting In The Swing Of Things

Styles: Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 44:57
Size: 106,2 MB
Art: Front

(6:18)  1. Don't Get Around Much Anymore
(5:12)  2. Consternation
(7:06)  3. Sweet And Lovely
(3:47)  4. My Little Anna
(4:00)  5. Sweet Lorraine
(2:57)  6. Louis Ann
(5:50)  7. G and G
(3:18)  8. Poinciana
(6:25)  9. This Can't Be Love

This particular George Shearing Trio (with guitarist Louis Stewart and bassist Niels Pedersen) recorded three albums for MPS during 1977-79 and provided an excellent outlet for the brilliant pianist just prior to his association with the Concord label. The Pausa reissue LP has the trio's renditions of five standards and four obscure originals including two ("Consternation" and "G & G") by Shearing. His renditions of "Don't Get Around Much Anymore" and "This Can't Be Love" are most memorable among these generally swinging tracks. ~ Scott Yanow http://www.allmusic.com/album/getting-in-the-swing-of-things-mw0000943446

Personnel:  Piano – George Shearing;  Bass – Niels Henning Ørsted-Pedersen;  Guitar – Louis Stewart

Getting In The Swing Of Things

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George Shearing Quintet - September In The Rain

Bitrate: MP3@320K/s
Time: 68:35
Size: 157.0 MB
Styles: Cool jazz
Year: 1950/1978/2015
Art: Front

[3:14] 1. September In The Rain
[2:50] 2. Good To The Last Bop
[2:56] 3. Bop Look And Listen
[3:17] 4. I Didn't Know What Time It Was
[3:02] 5. The Continental
[2:57] 6. Nothing But D Best
[3:06] 7. East Of The Sun (And West Of The Moon)
[2:11] 8. In A Chinese Garden Part 1
[2:29] 9. In A Chinese Garden Part 2
[2:30] 10. Conception
[2:46] 11. I'll Remember April
[2:55] 12. Little White Lies
[2:53] 13. Carnegie Horizons
[2:38] 14. Jumpin' With Symphony Sid
[2:35] 15. November Seascape
[3:17] 16. How's Trix
[3:10] 17. Changing With The Times
[3:04] 18. Strollin'
[2:36] 19. When Your Lover Has Gone
[2:42] 20. As Long As There's Music
[2:56] 21. Roses Of Picardy
[3:06] 22. For You
[2:23] 23. Geneva's Move
[2:52] 24. Pick Yourself Up

This is Shearing's earliest work that was recorded between 1939 and 1949 and feature him in some interesting musical settings. The tracks range from early work with Leonard Feather in the late 1930s, to collaborations with Stephane Grappelli, through to bebop era collaborations with some of the pioneers of that genre like bassist Curley Russell and drummer Denzil Best. In fact, some of the tracks feature Shearing on accordion! Most of the tracks were recorded for the Decca and Savoy labels. Some of the tracks are less than perfect from an engineering perspective, but are still listenable. Bear in mind that this material was recorded sixty five to seventy five years ago on relatively crude technology. I am not making excuses for this, but do want to set expectations.

This collection is filled with surprises (and to be honest a few duds, bot those are in the ear of the beholder). If you are a fan who want to dig a little deeper into his beginnings, as well as to chart his evolution as a musician this album is worthwhile. ~Mike Tarrani

September In The Rain

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George Shearing - The Best Of George Shearing, Volume Two (1960-1969)

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 52:58
Size: 123,6 MB
Art: Front

(2:23)  1. Lullabye Of Birdland
(2:22)  2. Blue Moon
(2:38)  3. Early Autumn
(3:40)  4. Jumpin' With Symphony Sid
(2:36)  5. I Wish You Love
(4:50)  6. Blues In 9/4
(2:46)  7. One Note Samba
(2:20)  8. Be Careful, It's My Heart
(4:22)  9. Bel Aire
(3:04) 10. Country Gardens
(2:41) 11. Night Fall
(2:05) 12. The Singing Song
(2:25) 13. With Feeling
(2:11) 14. Call Me Irresponsible
(4:00) 15. Hallucinations
(2:53) 16. Pick Yourself Up
(2:54) 17. Michelle
(2:38) 18. Promises, Promises

The second volume in a series compiling the highlights of Shearing's tenure on Capitol, this Best of collection includes Shearing's own "Lullaby of Birdland" and Lester Young's "Jumpin' With Symphony Sid," recorded with the aid of sidemen like vibists Gary Burton and Eddie Costa along with drummers Vernell Fournier and Shelly Manne. ~ Jason Ankeny http://www.allmusic.com/album/the-best-of-george-shearing-vol-2-1960-69-mw0000617691

Personnel: George Shearing (piano, percussion); Dick Garcia, John Gray, Ron Anthony (guitar); Walter Bolden (strings, drums); Jules Jacobs, Abe Most, Paul Horn, Justin Gordon (woodwinds); Eddie Costa, Douglas Marsh, Gary Burton , Warren Chiasson (vibraphone); Larance Marable, Shelly Manne, Vernel Fournier (drums); Armando Peraza (percussion).

The Best Of George Shearing, Volume Two

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George Shearing - That Shearing Sound

Styles: Piano Jazz

Year: 1994

File: MP3@320K/s

Time: 66:32

Size: 159,6 MB

Art: Front

(4:10)  1. East Of The Sun

(6:37)  2. I Like To Recognise The Tune

(3:49)  3. I'll Never Smile Again

(5:14)  4. I Hear Music

(5:45)  5. Girl Talk

(4:13)  6. Autumn Serenade

(3:39)  7. Consternation

(2:57)  8. Stars In My Eyes

(4:13)  9. Strollin'

(5:10) 10. Very Early

(7:10) 11. Conception

(7:04) 12. Peace

(6:24) 13. Lullaby Of Birdland

This was pianist George Shearing's first recording in a piano-vibes-guitar-bass-drums quintet since he broke up his original group in 1978 after 30 years of steady work; Shearing sounds surprisingly inspired throughout. With guitarist Louis Stewart, vibraphonist Steve Nelson, bassist Neil Swainson, and drummer Dennis Mackrel, Shearing explores such vintage Quintet standards as "East of the Sun (And West of the Moon)" and "I'll Never Smile Again" along with two Horace Silver compositions, a pair of his own songs ("Conception" and his biggest hit, "Lullaby of Birdland"), and a variety of other suitable material. The music ranges from easy listening to hard-driving bebop. The sound of the George Shearing Quintet remains as appealing as ever. ~ Scott Yanow http://www.allmusic.com/album/that-shearing-sound-mw0000117761

Personnel: George Shearing (piano); Louis Stewart (guitar); Steve Nelson (vibraphone); Dennis Machrel (drums).

That Shearing Sound

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