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
Can't We Be Friends?
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I can't excuse it on the grounds of youth,
I was no babe in the wild, wild wood.
She didn't mean it,
I should have seen it,
But now it's too late.
I thought I'd found the girl of my dreams,
This is how the story ends:
She's gonna turn me down and say,
"Can't we be friends?"
I thought for once it couldn't go wrong,
Not for long,
I can see the way this ends:
She's gonna turn me down and say,
"Can't we be friends?"
Why should I care though she gave me the air,
Why should I cry,
Heave a sigh,
And wonder why,
And wonder why?
I thought I found the gal I could trust,
What a bust, this is how the story ends:
She's gonna turn me down and say,
"Can't we be just friends?"
The lyrics of George Shearing's song "Can't We Be Friends?" tell a story of a man who falls for a woman and believes every word she says, despite the fact that she doesn't truly mean it. He thought he had found the girl of his dreams, but she ultimately rejects him and suggests they only be friends. The singer is disappointed, but he also seems to accept this outcome, telling himself that he shouldn't care and shouldn't wonder why. The song closes with a slight change in the lyrics, as he recognizes that they can only be "just friends."
The song highlights the naivete of love and the inevitable disappointment that often follows when reality fails to meet expectations. The lyrics capture the sense of dread that comes with realizing that someone you trusted and believed in isn’t the person you thought they were. The singer seems to be urging himself to accept this rejection and move on, to be content with a friendship where once he hoped for something more.
Line by Line Meaning
Took each word she said as gospel truth the way a silly little child would.
I believed everything she told me without questioning it, like a naive kid.
I can't excuse it on the grounds of youth,
I can't justify my gullibility by saying I was young and inexperienced.
I was no babe in the wild, wild wood.
I wasn't completely clueless or ignorant, despite my behavior.
She didn't mean it,
She didn't intend to hurt me or be untruthful.
I should have seen it,
I should have recognized the signs that she wasn't sincere or serious.
But now it's too late.
Unfortunately, I didn't realize this until after the fact.
I thought I'd found the girl of my dreams,
I believed that she was the perfect romantic partner for me.
Now it seems,
However, my hopes have been dashed and I know the reality.
This is how the story ends:
This is how the situation has ultimately played out, and there's no going back.
She's gonna turn me down and say,
She's going to reject me romantically and suggest a platonic relationship instead.
Can't we be friends?
Can't we simply maintain a non-romantic connection instead of pursuing a romance?
I thought for once it couldn't go wrong,
I believed that this time, I was going to experience a successful and fulfilling relationship.
Not for long,
Unfortunately, that didn't last very long at all.
I can see the way this ends:
I can predict how this situation is going to ultimately resolve, and it's not in my favor.
Why should I care though she gave me the air,
Why should I be upset even though she rejected me and ended things?
Why should I cry,
Why should I become emotional and shed tears over this situation?
Heave a sigh,
Why should I let out a deep, sorrowful breath over this situation?
And wonder why,
Why should I question the reasons behind her rejection or try to analyze the situation?
And wonder why?
Why should I do any of these things when it's not going to change the outcome?
I thought I found the gal I could trust,
I believed that I had found a partner who I could rely on and have faith in.
What a bust, this is how the story ends:
What a disappointment, this is how the situation has ultimately resolved itself.
She's gonna turn me down and say,
She's going to reject my romantic advances and suggest a platonic relationship instead.
Can't we be just friends?
Can't we simply maintain a non-romantic connection instead of pursuing a romance?
Lyrics © Warner/Chappell Music, Inc.
Written by: KAY SWIFT, PAUL JAMES
Lyrics Licensed & Provided by LyricFind
skrie
loving it :D