Shearing was born in the Battersea area of London, United Kingdom. Congenitally blind, he was the youngest of nine children. He started to learn piano at the age of three. After limited training and extensive listening to recorded jazz, he began playing at hotels, clubs and pubs in the London area, sometimes solo, occasionally with dance bands. In 1940, Shearing joined Harry Parry's popular band and became a star in Britain, performing for the BBC, playing with Stéphane Grappelli's London-based groups of the early 1940s, and winning seven consecutive Melody Maker polls.
In 1946, Shearing established himself in the United States. In 1955, he became a naturalized citizen of the United States. Leading a quintet (piano with guitar, bass, drums and vibraphone), which over the years included Cal Tjader, Margie Hyams, Denzil Best, Israel Crosby, Joe Pass and Gary Burton, Shearing had a succession of hugely popular records including September In The Rain and his own composition, Lullaby Of Birdland (1952). His style, including the joint playing of the melody by piano and vibraphone, was also widely copied, becoming part of the idiom of pop music, so that his records from that period now sound far less innovative than they did at the time. Later, Shearing played with a trio, as a solo and increasingly in duo. Among his collaborations have been sets with the Montgomery Brothers, Marian McPartland, Brian Torff, Jim Hall, Hank Jones and Kenny Davern.
In the 1970s, Shearing's profile had been lowered considerably, but upon signing with Concord Records in 1979, Shearing found himself enjoying a renaissance.
Over the years, Shearing has also collaborated with singers including Nat King Cole, Peggy Lee, Ernestine Anderson, Carmen McRae, and most notably, Mel Tormé, with whom he performed frequently in the late 80s and early 90s at festivals, on radio and for recordings.
Recently, Shearing collaborated with the John Pizzarelli Trio to create the album The Rare Delight of You, which garnered extremely good reviews. The album cover, featuring Pizzarelli and Shearing posing in front of a solid blue background, was designed to resemble the cover of Nat King Cole Sings George Shearing Plays, a legendary jazz recording with which it shares some similarities in style.
Shearing's interest in classical music resulted in some performances with concert orchestras in the 1950s and 1960s, and his solo's frequently draw upon the music of Debussy and, particularly, Erik Satie for inspiration. Shearing also made a recording with the classical French horn player Barry Tuckwell.
Shearing wrote a number of jazz arrangements of hymn tunes for the organ in collaboration with organist Dale Wood, that have been published in sheet music form.
(2) 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
All Or Nothing At All
George Shearing Lyrics
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Half a love, never appealed to me
If your heart, never could yield to me
Then I'd rather (rather) have nothing at all
All or nothing at all
If it's love, there is no in between
Why begin then cry, for something that might have been
But please don't bring your lips so close to my cheek
Don't smile or I'll be lost beyond recall
The kiss in your eyes, the touch of your hand makes me weak
And my heart may go dizzy and fall
And if I fell (I fell) under the spell of your call
I would be, caught in the undertow
So you see, I've got to say no, no
All or nothing at all
The song 'All or Nothing at All' by George Shearing expresses the idea that there is no in-between when it comes to love. The lyrics state that half a love or a love that cannot yield completely is not worth pursuing. The singer would rather have nothing at all than settle for something that is not wholehearted. The simple piano accompaniment and gentle vocals highlight the intensity of the emotions that are being conveyed.
The chorus of the song emphasizes the idea that love is either all or nothing, there is no middle ground. The lyrics caution against starting something that has the potential to cause heartache and regret. The singer acknowledges the danger of falling under the spell of someone's call, which would only lead to being caught in an undertow. The intense attraction between the two is palpable; however, the singer restrains himself from giving in to the passion.
The song highlights an important aspect of love. It shows that true love requires complete devotion and commitment, and anything less is not worth pursuing. It also shows the difficulty of resisting temptation and the importance of making wise choices when it comes to matters of the heart.
Line by Line Meaning
All or nothing at all
I am looking for a complete, undivided love.
Half a love, never appealed to me
I'm not interested in a love that is superficial or partial.
If your heart, never could yield to me
If you cannot give me all of your heart, then I'm not interested.
Then I'd rather (rather) have nothing at all
I would rather be alone than settle for a love that is less than what I desire.
If it's love, there is no in between
Love cannot be half-hearted or lukewarm.
Why begin then cry, for something that might have been
It's better to avoid a relationship that will inevitably end in regret.
No I'd rather (rather) have nothing at all
I would rather be single than settle for a love that is not genuine.
But please don't bring your lips so close to my cheek
I don't want to be tempted by physical intimacy.
Don't smile or I'll be lost beyond recall
Your smile is charming and could distract me from my goal of finding true love.
The kiss in your eyes, the touch of your hand makes me weak
Your affectionate gestures affect me deeply, but I still need to be cautious.
And my heart may go dizzy and fall
I might lose control and fall for you if I'm not careful.
And if I fell (I fell) under the spell of your call
If I allowed myself to be swept away by your charms,
I would be, caught in the undertow
I would be trapped in a relationship that I don't truly want.
So you see, I've got to say no, no
For my own good, I must decline your advances.
All or nothing at all
I am committed to finding a love that is complete and genuine.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Royalty Network
Written by: Arthur Altman, Jack Lawrence
Lyrics Licensed & Provided by LyricFind