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
I’ll Remember April
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We'll sigh goodbye to all we ever had
Alone where we have walked together
I'll remember April and be glad
I'll be content you loved me once in April
Your lips were warm and love and spring were new
I'm not afraid of autumn and her sorrow
The fire will dwindle into glowing ashes
For flames live such a little while
I won't forget but I won't be lonely
I'll remember April and smile
The lyrics of George Shearing's 'I'll Remember April' cover a range of emotions, all centered around the month of April. The singer reflects on a bygone love, acknowledging that while it may no longer be present, the memories remain: "Alone where we have walked together, I'll remember April and be glad." The passage of time and changing of seasons is also referenced, as the warmth and newness of spring gives way to the coolness and melancholy of autumn. Even so, the singer remains unafraid, for the memories of that past love still bring a smile to their face: "I won't forget, but I won't be lonely, I'll remember April and smile."
Overall, the song is a poignant meditation on the power of memory and the way in which it shapes our understanding of love and loss. Through its gentle melody and carefully crafted lyrics, 'I'll Remember April' invites us to reflect on the fleeting beauty of life, and to find solace in the memories that endure even as time marches on.
Line by Line Meaning
This lovely day will lengthen into evening
As the day progresses into night, so too will our time together come to an end
We'll sigh goodbye to all we ever had
We will part ways with a sense of sadness and regret, leaving behind all that we shared
Alone where we have walked together
In the places where we once walked side by side, I will now walk alone without you
I'll remember April and be glad
Despite the pain of saying goodbye, I will find solace in the memories of our time together in April
I'll be content you loved me once in April
Even though our love was fleeting and short-lived, I will find comfort in the fact that you once loved me in April
Your lips were warm and love and spring were new
I will always cherish the memories of our passionate love and the freshness of spring that surrounded us
I'm not afraid of autumn and her sorrow
Even though autumn symbolizes the end of things and brings with it feelings of sorrow, I am not afraid of it
For I'll remember April and you
Because of the memories of our time together in April, I will always have you with me, regardless of the season
The fire will dwindle into glowing ashes
Just as a flame burns brightly and then fades away, so too will our love eventually come to an end
For flames live such a little while
The passion and intensity of love is often short-lived, like the brief life of a flame
I won't forget but I won't be lonely
I will always remember our time together, but I will not let the memories make me feel lonely
I'll remember April and smile
I will look back on our time together with happiness and fondness, and smile at the memories of our love
Lyrics © Universal Music Publishing Group
Written by: DON RAYE, GENE DE PAUL, PATRICIA JOHNSTON
Lyrics Licensed & Provided by LyricFind
Eugenio Goldberger
I also fell in love with this tune, way back in '58 when I was living in Manhattan (when you could walk the length of Broadway at 2 o'clock in the morning and not fear being mugged... wonderful times). Although I had many other records by Sir George, I wasn't able to get this one. It has been a long 54 years wait... Thanks for uploading!
Eugenio Goldberger
Well, what's wrong with "still digging" George Shearing? After all, many pople are still digging Bach, Mozart, Ravel (one of my favorites). I rate Shearing as great a clasic as these...
Sam Franco
just the right amount of notes......never tiring. always good
Eugenio Goldberger
Takes me back to '58 and '59 when I lived in Manhattan before returning to Brazil where I am living since then. Even though I had several Shearing records, I haven't been able to get the recording of this tune. So it's great to hear this (almost forgotten) one after so many (54) years....
ferganza 62
hermoso instrumental.
exjazzbass baz
what pleasure sir george gave us in his lifetime .without doubt one of the worlds jazz giants. sir george was and is loved the world over and even now its hard to believe he is not with us. still we have all his wonderful music and thats a blessing.r.i.p.great man.
Albert Andriessen
I still like the music of the Quintet very much !
Glen Whatley
Very simple but completely apropos walking bassline...Always classy Al McKibbon. My folks had this album when I was a Kid. I remember it fondly.
Fred Heiberger
The Shearing sound will live on forever. No one will ever come close
James Miller
Few had such a unique sound to their music...George was one...another was the great Brazilian organist Walter Wanderley...