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
Canadian Sunset
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So lonely and then
You came, out of nowhere
Like the sun up from the hills
Cold, cold was the wind
Warm, warm were your lips
Out there, on that ski trail
A weekend in Canada, a change of scene
Was the most I bargained for
And then I discovered you and in your eyes
I found the love that I couldn't ignore
Down, down came the sun
Fast, fast, fast, beat my heart
I knew when the sun set
From that day, we'd never ever part
The lyrics to George Shearing's song "Canadian Sunset" tells the story of someone who was once lonely until they met their significant other. The first stanza sets the scene of their loneliness and how that changes when they meet. The line "out of nowhere, like the sun up from the hills" represents the unexpectedness of the meeting, which brought light and warmth to the person's life, just like how the sun brings light and warmth on a cold day.
The second stanza describes a moment on a ski trail with the person they met. The contrast between the cold wind and the warmth of their lover's lips symbolizes the emotional warmth they feel in their lover's company. The kiss fills them with thrills, which is a physical and emotional reaction of excitement and pleasure. The third stanza emphasizes the significance of this meeting by stating that the person only expected a change of scenery on a weekend trip to Canada, but instead discovered a love they couldn't ignore in their lover's eyes.
The final stanza emphasizes the lasting impact of their meeting. The sunset represents the end of the day, which signifies the end of something old and the beginning of something new. The fast beating of their heart represents excitement and also how time seems to go by quickly when with someone they love. They knew from that sunset moment, they would never part. The song represents the hope and happiness that can come from meeting someone unexpectedly.
Line by Line Meaning
Once I was alone
I was all by myself feeling the loneliness inside me
So lonely and then
The feeling of being lonely was so strong that it was almost unbearable
You came, out of nowhere
Unexpectedly, you appeared in my life and brought light to the darkness
Like the sun up from the hills
You were like the sun rising from behind the hills, illuminating everything in your path
Cold, cold was the wind
It was chilly outside, and the wind made it even colder
Warm, warm were your lips
Your lips were warm and inviting, providing a contrast to the cold wind
Out there, on that ski trail
We were on a ski trail, surrounded by the serenity and beauty of nature
Where your kiss filled me with thrills
Your kiss was exhilarating, making my heart race and filling me with excitement
A weekend in Canada, a change of scene
I went to Canada for a weekend, hoping to have a change of scenery
Was the most I bargained for
I wasn't expecting anything more than just a break from routine
And then I discovered you and in your eyes
But then I met you, and when I looked into your eyes
I found the love that I couldn't ignore
I realized that I had found something special that I couldn't ignore - love
Down, down came the sun
The sun began to set in the sky
Fast, fast, fast, beat my heart
My heart started beating faster with the realization that we were falling in love
I knew when the sun set
At that moment, I knew that something was changing between us
From that day, we'd never ever part
And from that day on, we were together and never parted ways
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Norman Gimbel, Eddie Heywood
Lyrics Licensed & Provided by LyricFind