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
On The Sunny Side Of The Street
George Shearing Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I had nothing but shadows
Then one morning you passed
And I brightened at last
Now I greet the day and complete the day
With the sun in my heart
All my worry blew away
When you taught me how to say
Grab your coat and get your hat
Leave your worry on the doorstep
Just direct your feet
To the sunny side of the street
Can't you hear a pitter-pat?
And that happy tune is your step
Life can be so sweet
On the sunny side of the street
I used to walk in the shade
With those blues on parade
But I'm not afraid
This Rover crossed over
If I never have a cent
I'd be rich as Rockefeller
Gold dust at my feet
On the sunny side of the street
Grab your street
On The Sunny Side Of The Street is a classic jazz standard that has been covered by many artists over the years. The lyrics speak about a person who used to walk alone in the shadows, with nothing but worries for company. But their life changes when they meet someone who brightens their day and teaches them how to find happiness on the sunny side of the street. The singer no longer walks in the shade with the blues on parade, now they are unafraid and have crossed over to a happier place. They feel as rich as Rockefeller, with gold dust at their feet, and they invite the listener to join them on this path of positivity.
The lyrics of this song are simple yet powerful. They convey the message that despite life's hardships, it is possible to find happiness and contentment by changing one's perspective. The music itself is upbeat and cheerful, reaching its climax in the infectious chorus that encourages the listener to put their worries aside and step onto the sunny side of the street. The song has become an anthem of optimism and resilience, a reminder that there is always a brighter side to life if one looks for it.
Line by Line Meaning
Walked with no one and talked with no one
I was alone and didn't have any companionship
And I had nothing but shadows
My life was empty and full of darkness
Then one morning you passed
But one day, you came into my life
And I brightened at last
And suddenly, my life had color and light
Now I greet the day and complete the day
I start and end each day with happiness
With the sun in my heart
I feel warmth, joy, and love inside me
All my worry blew away
My anxieties disappeared
When you taught me how to say
You showed me how to be positive and look towards the good things in life
Grab your coat and get your hat
Get ready and prepare yourself
Leave your worry on the doorstep
Don't bring your problems with you
Just direct your feet
Just go forward and keep moving
To the sunny side of the street
Towards the optimistic side of life
Can't you hear a pitter-pat?
Can't you feel the excitement and happiness?
And that happy tune is your step
And that tune you're humming is a sign that you're content
Life can be so sweet
Life can be full of joy and happiness
On the sunny side of the street
When you have a positive outlook on life
I used to walk in the shade
I used to be negative and pessimistic
With those blues on parade
Feeling sad and dejected all the time
But I'm not afraid
But now I am confident and brave
This Rover crossed over
I have moved towards the cheerful and optimistic side of life
If I never have a cent
Even if I am not wealthy
I'd be rich as Rockefeller
I would still feel rich and happy
Gold dust at my feet
I would feel like I have everything I need
On the sunny side of the street
Because of my positive outlook on life and good things happening
Lyrics © Songtrust Ave, Kobalt Music Publishing Ltd., RESERVOIR MEDIA MANAGEMENT INC, Warner Chappell Music, Inc.
Written by: Dorothy Fields, Jimmy McHugh
Lyrics Licensed & Provided by LyricFind