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
Emily
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
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
"Emily" is a song written by Johnny Mercer with music composed by George Shearing. The song was released in 1957 and has become one of Shearing's most popular and enduring compositions. The song describes the beauty and sound of the name Emily, which is compared to the murmuring sound of May. The lyrics also evoke images of childhood innocence and joy, with references to silver bells, coral shells, and carousels. The laughter of children at play is also mentioned, emphasizing the happiness and positivity associated with the name Emily.
The second stanza of the song shifts to a romantic theme, with the singer imagining a couple alone and out of sight, seeing images in the firelight. As the singer visualizes a family, the name Emily is once again mentioned, emphasizing the idea of family and togetherness. The final line of the song, "They see Emily, Emily too," adds a sense of mystery and intrigue to the song, leaving the listener to interpret its meaning.
Line by Line Meaning
Emily, Emily, Emily
Repeating the name Emily, signifies the singer's persistent thought about this person.
Has the murmuring sound of may
Emily possesses a soothing and refreshing quality, akin to the gentle sound of May.
All silver bells, coral shells, carousels
Emily is associated with enchanting and beautiful things like silver bells, coral shells, and carousels.
And the laughter of children at play
Emily evokes the joyful sound of children playing, adding to her charm.
Say Emily, Emily, Emily
Once again, the artist reiterates the name to emphasize their thoughts about Emily.
And we fade to a marvelous view
Mentioning Emily transports the singer to a delightful place in their mind's eye.
Two lovers alone and out of sight
The singer envisions a romantic setting, away from the rest of the world.
Seeing images in the firelight
The artist visualizes pictures in the warm, flickering light of a fire.
As my eyes visualize a family
By invoking the name Emily, the artist dreams of having a family.
They see Emily, Emily
The artist is so focused on Emily that it's all they can see.
Too
A simple expression meaning 'me too' or 'same here'.
Lyrics © Warner Chappell Music, Inc.
Written by: Ricky Ross, Scott Fraser, Pete Webb
Lyrics Licensed & Provided by LyricFind
Turner D
This is simply beautifully therapeutic and I just immerse myself into the notes and allow my thoughts to drift away. Beautiful composition and paino work combined with some deft guitar work.
Martine Bourdeau
My kind of jazz. Thank you both. Wonderful. Thank you gentlemen!!!
David Eastlee
amazing intro by george. love jim's tone
javier Azmat
Pura belleza!
Swing Journal
This is my favorite Jim Hall album.
Richard Wallace
One of the great Mandel songs from the great movie, “The Americanization Of Emily,” with Julie Andrews and James Garner. Please watch the film!
Catherine
how beautiful .....Lovely Piano by George Shearing.. ..❤️❤️❤️
Anthony Montero
Amo... Bellisimo
Gene C
Pure taste ....
Kyung A Lee
위로가 필요할 때.. 찾게 되는 곡