When Cables was going to school in New York City, he used to walk the streets at night, taking in the cosmopolitan sights and sounds, mentally recording his encounters with "so many different kinds of people." In his musical career as well, Cables has prowled sidestreets and main thoroughfares in relative anonymity, absorbing countless influences into his personal style.
Cables was classically trained as a youth, and when he started at the "Fame"-worthy New York High School of Performing Arts, he admittedly "didn't know anything about jazz." But he was soon smitten with the potential for freedom of expression he heard in jazz. The young Cables was impressed by such keyboardists as Herbie Hancock and Chick Corea, but, as he points out, "I never really listened to pianists when I was coming up. I would probably say I've been more influenced by Miles or Trane and their whole bands rather than by any single pianist. The concept of the music is more important than listening to somebody's chops, somebody's technique, The Way Miles' band held together, it was just like magic. You were transported to another world."
Cables attended Mannes College of Music for two years, and by 1964 he was playing in a band called The Jazz Samaritans which included such rising stars as Billy Cobham, Lenny White, and Clint Houston. Gigs around New York at the Top of the Gate, Slugs, and other clubs attracted attention to Cables' versatility and before long he had recorded with tenor saxophonist Paul Jeffrey, played on Max Roach's "Lift Every Voice and Sing," and earned a brief 1969 tenure at the piano bench with Art Blakey and the Jazz Messengers.
A 1969 tour with tenor titan Sonny Rollins took Cables to the West Coast. By 1971 he became a significant figure in the jazz scenes of Los Angeles, where he first resided, and San Francisco, where he also lived. Collaborations and recordings with tenor saxophonists Rollins ("Next Album:) and Joe Henderson, trumpeters Freddie Hubbard and Woody Shaw ("Blackstone Legacy"), and vibist Bobby Hutcherson made Cables' wide-ranging keyboard skills, often on electric piano, amply evident. Demand for his sensitive accompaniment increased and by the end of the 1970s, Cables was garnering a reputation as everyone's favorite sideman.
Perhaps the most pivotal turn came when hard bop legend Dexter Gordon invited Cables into his quartet in 1977. The two years he spent with the reappreciated tenor giant ignited Cables's passion for the acoustic piano and rimmersed him in the bebop vocabulary. "I don't feel that one should be stuck in the mud playing the same old stuff all the time, trying to prove that this music is valid," Cables says. "We don't need to prove anything. But I think you really have to be responsive to your heritage and then go on and find your own voice."
The longest standing relationship Cables developed in the late seventies was with alto saxophonist Art Pepper. Cables, who Pepper called "Mr. Beautiful," became Art's favorite pianist, appearing on many quartet dates for Contemporary and Galaxy, and joining Art for the extraordinary duet album, Goin' Home, that would be Pepper's final recording session. "I've been able to play with some of the greatest musicians in the world," Cables says, ..but it's funny, if you're not seen as a bandleader, doing the same thing a lot of times, it's easy to wonder, `Well, who are you really? What do you really feel?' And sometimes I have to ask myself that, because every time I play with somebody different I have to put on a different hat."
George has performed and recorded with some of the greatest jazz musicians of his time, including: Joe Henderson, Roy Haynes, Max Roach, Art Blakey, Sonny Rollins, Freddie Hubbard, Woody Shaw, Sarah Vaughn, Tony Williams, Bobby Hutcherson and Dizzy Gillespie.
George Cables has emerged as a major voice in modern jazz. He is currently performing and recording as a soloist, with trio and larger ensembles, and as a clinician in college jazz programs. In addition to composing and arranging for his own albums, George Cables has contributed to recordings by many other jazz performers. He is noted for his fresh interpretations of classic compositions, and for his innovative style of writing.
Emily
George Cables Lyrics
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Has the murmuring sound of may
All silver bells, coral shells, carousels
And the laughter of children at play
Say Emily, Emily, Emily
And we fade to a marvelous view
Two lovers alone and out of sight
As my eyes visualize a family
They see Emily, Emily
(and we fade to a marvelous view)
Two lovers alone and out of sight
Seeing images in the firelight
As my eyes visualize a family
They see Emily, Emily
Too
The song "Emily" by George Cables takes us on a journey with memories of a person named Emily. The lyrics "Emily, Emily, Emily / Has the murmuring sound of May / All silver bells, coral shells, carousels / And the laughter of children at play" create an image of a charming and peaceful atmosphere. The singer associates Emily with the sweetest hallmarks of springtime- the sound of nature, precious jewelry, whimsical rides, and the joyful laughter of kids playing in the garden.
As we continue with the lyrics "Say Emily, Emily, Emily / And we fade to a marvelous view / Two lovers alone and out of sight / Seeing images in the firelight / As my eyes visualize a family / They see Emily, Emily," the singer fades into a beautiful panoramic view. He imagines himself and his lover enjoying a night by the fire, sharing tender moments, and picturing a future family together. Emily signifies hope and love, and the singer is enthralled with the thought of her.
Overall, "Emily" is a song that paints a vivid picture of springtime and the reminiscence of the person, Emily. The song speaks of love, memories, and the warmth of having someone special in one's life.
Line by Line Meaning
Emily, Emily, Emily
The name Emily is being repeated three times as if the singer is calling out to a person named Emily.
Has the murmuring sound of may
The sound of Emily's name is soft and gentle like the sound of the month of May.
All silver bells, coral shells, carousels
Emily brings to mind beautiful and whimsical objects like silver bells, coral shells, and carousels.
And the laughter of children at play
The name Emily also reminds the singer of the carefree laughter of children while they play.
Say Emily, Emily, Emily
The singer is once again calling out to Emily, repeating her name as if to evoke her presence.
And we fade to a marvelous view
By saying Emily's name, the singer is transported to a wondrous view or a beautiful memory.
Two lovers alone and out of sight
The marvelous view may consist of two lovers who are alone and hidden from sight.
Seeing images in the firelight
The imaginative imagery of the scene is illuminated by the firelight, creating a warm and intimate atmosphere.
As my eyes visualize a family
The singer picturing a family together in the scene evokes feelings of nostalgia and longing for familial love and unity.
They see Emily, Emily
Emily is still central to the scene even as it shifts to a vision of a family, implying she is tied to the ideas of love, warmth, and togetherness.
Too
The final word serves as an extension of the previous line, continuing to emphasize the important role Emily plays in these memories and visions.
Lyrics © Warner Chappell Music, Inc.
Written by: Ricky Ross, Scott Fraser, Pete Webb
Lyrics Licensed & Provided by LyricFind