George Shearing was born blind but 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 as a single, occasionally with dance bands. In 1940 he joined Harry Parry's popular band and also played with Stéphane Grappelli. Shortly after visiting the USA in 1946, Shearing decided to settle there. Although at this time in his career he was influenced by bop pianists, notably Bud Powell, it was a complete break with this style that launched his career as a major star. Developing the locked-hands technique of playing block-chords, and accompanied by a discreet rhythm section of guitar, bass, drums and vibraphone, he had a succession of hugely popular records including 'September In The Rain' and his own composition, 'Lullaby Of Birdland'. With shifting personnel, which over the years included Cal Tjader, Margie Hyams, Denzil Best, Israel Crosby, Joe Pass and Gary Burton, the Shearing quintet remained popular until 1967. Later, Shearing played with a trio, as a solo and increasingly in duo. Among his collaborations were sets with the Montgomery Brothers, Marian McPartland, Brian Torff, Jim Hall, Hank Jones and Kenny Davern (on a rather polite dixieland selection).
Over the years he worked fruitfully with singers including Peggy Lee, Ernestine Anderson, Carmen McRae, and, especially, Mel Tormé, with whom he performed frequently in the late 80s and early 90s at festivals, on radio and record dates. Shearing's interest in classical music resulted in some performances with concert orchestras in the 50s and 60s, and his solos frequently touched upon the musical patterns of Claude Debussy and, particularly, Erik Satie. Indeed, Shearing's delicate touch and whimsical nature made him an ideal interpreter of Satie's work. As a jazz player, Shearing was occasionally the victim of critical indifference and even hostility. Mostly, reactions such as these centred upon the long period when he led his quintet. It might well be that the quality of the music was often rather lightweight but a second factor was the inability of some commentators on the jazz scene to accept an artist who had achieved wide public acceptance and financial success. The critical disregard that followed Shearing into his post-quintet years is inexplicable and unforgivable. Many of his later performances, especially his solo albums and those with Torff, bass player Neil Swainson, and Tormé, are superb examples of a pianist at the height of his powers. Inventive and melodic, his improvisations were unblushingly romantic but there was usually a hint of whimsy that happily reflected the warmth and offbeat humour of the man himself.
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