As a celebration to George Shearing there can be none finer, and Carl Gorham can take pride in an album that will I’m sure point many to check out recordings that Shearing and his various bands made in an illustrious career.
Ubuntu Music UBU0137
Jason McDermid, Chris Storr (trumpet); Pete Long (clarinet, alto, tenor & baritone saxophones); Alistair White (trombone); James Pearson, Simon Wallace (piano); Anthony Kerr (vibes); Alec Dankworth, Arnie Somogyi (bass); Cark Gorham (drums); Satin Singh (percussion); Sarah Moule, Louise Marshall, Romy Sipek (vocals)
Recorded October2021 & September 2022
I think it is fair to say that George Shearing was one of the UK finest exports, and his move to the United States a loss for British jazz of the time.
It is pure speculation to think how jazz in Britain might have evolved with a giant like Shearing in their midst, but it is certain that the pianist himself made the right decision as his Stateside reputation is testament.
As if we need reminding just how good George Shearing was, we have this excellent release by Shear Brass led by none other than Shearing’s great nephew and drummer, Carl Gorham.
The band has been painstakingly put together comprising some of the best musicians in the UK, and eleven splendid arrangements by James McDermid that bring the music to life in a way that does justice to the compositions and the composer.
McDermid’s orchestrations for the band perfectly capture Shearing’s love of bebop as well as reminding us that the pianist himself originally came out of the swing era of the Thirties. The inherent of the swing of the band is beautifully captured on a lovely ‘Let There Be Love’, the only tune not written by Shearing, with Louise Marshall taking care of vocal duties in fine style.
The band swing at a slower tempo on ‘Lullaby of Birdland’ with the vocals handled by another Shearing relative in Romy Sipek who does her great, great uncle proud.
Shearing’s fascination with bebop is to the fore on ‘Conception’, written in 1949, that features some wonderful unison playing from Pete Long and the vibes of Antony Kerr, Pearson and Long take all to brief solos, and there is some tremendous powerhouse drumming from Gorham.
Predating ‘Conception’ by a year is the earliest composition, ‘The Fourth Deuce’ which was actually first recorded in London on a visit home by the pianist. McDermid’s arrangement takes the honours with some wonderful writing for the horns.
The arrangements continue to dazzle with the beautiful Debussy-influenced ‘Children’s Waltz’ that seems to convey a lot. Just listen to the muted horns, and delicate interplay between piano and vibes in a piece that is captivating, charming and heartwarming.
This sense of understatement is again heard to marvellous effect in the ballad, ‘Midnight Mood’. Sung by Sarah Moule with another stunning arrangement from McDermid, the music is warm without overdoing the sentimentality Moule’s reading of the song is perfectly judged.
As a celebration to George Shearing there can be none finer, and Carl Gorham can take pride in an album that will I’m sure point many to check out recordings that Shearing and his various bands made in an illustrious career.
Shear Brass will have an official album launch for this splendid release at Ronnie Scott’s Jazz Club, London on Sunday 10th September, 2023.
