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
New York New York Medley: For Me and My Gal/Mack the Knife/Birth of th
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm leaving today
I want to be a part of it
New York, New York
These vagabond shoes are longing to stray
Right through the very heart of it
New York, New York
I wanna wake up in a city that doesn't sleep
These little town blues are melting away
I'll make a brand new start of it in old New York
If I can make it there, I'll make it anywhere
It's up to you, New York, New York
New York, New York, New York
I want to wake up in a city that never sleeps
And find I'm a number one, top of the list
These little town blues are melting away
I'll make a brand new start of it in old New York
If I can make it there, I'll make it anywhere
It's up to you, New York, New York, New York
The lyrics to George Shearing's New York New York Medley: For Me and My Gal/Mack the Knife/Birth of the Blues are an ode to the city of New York. The first stanza describes the singer's desire to be a part of the city, with its bustling streets and endless opportunities. He longs to escape the mundane life of a small town and be a part of something bigger. The second stanza continues this sentiment with the singer expressing his desire to wake up in a city that never sleeps, making a new start and leaving behind his "little town blues".
The lyrics are full of optimism and hope, with a sense of determination to succeed at all costs. The mention of "Mack the Knife" and "Birth of the Blues" serve as a nod to the city's rich musical history and the influence it has had on popular culture. The use of the phrase "If I can make it there, I'll make it anywhere" further emphasizes the singer's belief that success in New York City is the ultimate goal and achievement.
Line by Line Meaning
Start spreading the news
I am excited and ready to share this news with others
I'm leaving today
I am departing from my current location and moving on
I want to be a part of it
I desire to join and become involved in this destination
New York, New York
The city that I am excited to explore and experience
These vagabond shoes are longing to stray
My wanderlust has been ignited and I long to wander and explore
Right through the very heart of it
I want to explore every corner and experience all of its attractions
New York, New York
The city that I am excited to explore and experience
I wanna wake up in a city that doesn't sleep
An energetic and lively city is where I want to wake up in
And find I'm king of the hill, top of the heap
I want to stand at the top, feeling triumphant and accomplished
These little town blues are melting away
Any sadness or dissatisfaction from my previous location is fading away
I'll make a brand new start of it in old New York
I intend to start fresh and create a new life in this city with a rich history
If I can make it there, I'll make it anywhere
Success in this challenging city would mean success anywhere else
It's up to you, New York, New York
The success and fulfillment of my dreams are in the hands of this city
New York, New York, New York
The repetition of the city's name emphasizes its importance and significance to me
I want to wake up in a city that never sleeps
I desire to be in a city that is always lively and active
And find I'm a number one, top of the list
I want to achieve great success and be recognized as the best in this city
These little town blues are melting away
Any sadness or dissatisfaction from my previous location is fading away
I'll make a brand new start of it in old New York
I plan to begin anew and create a better life for myself in this well-established city
If I can make it there, I'll make it anywhere
Success in this challenging city would mean success anywhere else
It's up to you, New York, New York, New York
My success and happiness in this city are in the hands of its people and its lively atmosphere
Lyrics © Universal Music Publishing Group
Written by: MICHAEL JOHN MONTGOMERY
Lyrics Licensed & Provided by LyricFind