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 from 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 millions of records for MGM and Capitol in his heyday.

George Shearing's solo piano CD Favorite Things doesn't hide his early background in the study of classical music, but at times it celebrates it. The only truly arranged piece on the album, "My Favorite Things," incorporates a portion of a Scarlatti sonata, while "Not You Again" hints at Tchaikovsky. "Taking a Chance on Love" was inspired by Brahms' E major Intermezzo, while Artie Shaw's "Moonray" has the character of a Baroque fugue. Many of the other tracks have an impressionistic flavor, especially the dreamy take of Dave Brubeck's "Summer Song" and the haunting treatment of Matt Dennis' "Angel Eyes." The pianist adds a warm, friendly vocal to the finale, "It Amazes Me." George Shearing was clearly enjoying himself during the two days of studio sessions which produced this CD; fans of solo jazz piano are invited to do the same.

Pianist George Shearing planned to revisit his roots in Dixieland and swing but he hedged his bets. Despite having an impressive septet with such players as cornetist Warren Vache, Ken Peplowski on tenor, trombonist George Masso and clarinetist Kenny Davern, Shearing wrote out most of the ensembles, taking away from the spontaneity and potential excitement of the music. Despite the interesting repertoire (ranging from "Truckin'," "Honeysuckle Rose" and "Jazz Me Blues" to "Take Five," "Desafinado" and even a Dixiefied "Lullaby Of Birdland"), this date falls far short of its potential.

There is a cool and relaxed feeling to this session of "Midnight on Cloud 69" and ethereal quality which sets the tempo and mood of quietude. It is, contrary to the hot and heavy-breathed experience of daily living, and hiatus in which man may forget his tribulations and give vent to his imagination to trail the tail of a cloud as it glides through the dark and empty heavens.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.
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…

Deep Velvet (1965). In this album, the Shearing piano and Quintet are the first time set against a choir of twelve woodwinds, and the effect is both beautiful and strikingly new - a refreshing caress for the tasteful music that sets the stage for love.
Old Gold And Ivory (1964). Here is Tchaikovsky by Shearing, Grieg by Shearing. Chopin by Shearing. Here are variations on a theme of Paganini by Shearing. And Shearing-interpreted music by Falls, Lecuona, Rimsky-Korsakoff, Cyril Scott and Gabriel Faure…

Mostly covering Shearing's latter-day work for the Concord Jazz label, this edition of Verve's Compact Jazz series isn't one of their best. And while there are certainly some fine cuts here ("Con Alma," "Cheryl"), fans will inevitably start pining for all those classic '50s and '60s dates the pianist cut for Capitol.

The music on The Swingin's Mutual!, a dozen selections featuring the George Shearing Quintet, includes six that have vocals by a young Nancy Wilson. This was one of Wilson's most jazz-oriented dates (even if she was never a jazz singer) and is highlighted by her vocals on "The Nearness of You" and "The Things We Did Last Summer," along with instrumental versions of "Oh! Look at Me Now," "Blue Lou," and "Lullaby of Birdland."

Pianist George Shearing meets up with guitarist Wes, vibraphonist Buddy, and bassist Monk Montgomery on this enjoyable if slightly lightweight outing. The performances are a bit too concise at times, but the album has some fine soloing by the principals. Highlights include "Love Walked In," "Love for Sale," and "The Lamp Is Low."

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.

Verve Jazz Masters 57 presents an introduction to the recordings of George Shearing. The enclosed booklet includes biographical material and commentary on the songs selected.
"…I just asked the band what they'd like to play, and they said, 'Oh, let's play some "I'll Remember April", or let's play some "September in the Rain".' So we did , and (the latter) sold nine hundred thousand copies." So London-born George Shearing reminisces on his early US fame and fortune in Brian Priestley's liner note. Shearing had an almost uncanny knack for creating music both pleasing to the public and artistically satisfying - as can be heard in this compilation of his early Fifties MGM sessions, which includes many tracks never issued on CD.