Robert Farnon George Shearing Strange Enchantment Robert Farnon George Shearing Strange Enchantment

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George Shearing Trio & Robert Farnon Orchestra - On Target () Hi-Res | IsraBox

Robert Joseph Farnon was born into a musical family in Toronto, Canada in Their work became something of the model upon which he chose to build his career as a composer, and that brand of light classical music led naturally, in turn, to film composition.

He signed with Telarc in and from that point through the early s continued to perform and record, most often appearing in a duo or trio setting.

He has also been notably successful in the field of film music since the s. Shearing, who had remained largely inactive since after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in A British Warner Bros.

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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. He showed a natural aptitude as a musician, and at age 19, was already being employed as an arranger with the Canadian Broadcasting Company Orchestra in Toronto, under the direction of Percy Faith.

Forrester's naval hero of the Napoleonic era, starring Gregory Peck. 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. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation.


Once there, Shearing quickly absorbed ftse 100 graph yahoo dating into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in under the aegis of fellow Brit Leonard Feather.

InFarnon was assigned to write the score for his first major international film, Captain Horatio Hornblower, based on the exploits of C. 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.

George Shearing & The Robert Farnon Orchestra

Farnon soon entered the field of film music as well, writing his first score in for the upper-class romantic comedy Spring in Park Lane, produced by Herbert Wilcox, and the music for its direct sequel Maytime in Mayfair.

In the '60s, his screen assignments included some slightly higher profile work, such as the music for the Hayley Mills film The Truth About Spring and also the all-star western adventure drama Shalako.

A second symphony followed a year later, and it, too, received performances in Canada, but Farnon discovered that he had little personal affinity for writing works of that depth and dimension, talented though he might have been.

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.

In the '70s, his profile had been lowered considerably, but upon signing with Concord inShearing found himself enjoying a renaissance in all kinds of situations. It was during his service with the Canadian army during World War II, when he was assigned as a bandleader and sent to England, that Farnon discovered the light classical music of composers such as Charles Williams and Eric Coates.

He subsequently had assignments for films such as Gentlemen Marry Brunettes and the screen adaptation of The Little Hut, which, as films, left relatively little impression on the public.


Farnon's main interest at the time lay in writing serious music, despite the fact that he enjoyed great success with his arrangements.

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. 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.

At age 22, he composed his first symphony, which was performed by the Toronto Symphony inand later by the Philadelphia Orchestra. He also recorded a number of solo piano albums where his full palette of influences came into play.

This was something of a revelation to him -- their brand of music was internally complex while not overly profound, inventive and expressive without being pretentious.

He was also known to play accordion and sing in a modest voice on occasion. Farnon has remained a top composer in his field for 50 years. A quiet, self-effacing man, without the gift for self-promotion that rivals Percy Faith or David Rose showed, Farnon has never had a high-visibility creative role, preferring to work quietly and show himself through his work.

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He also made a lone album for Jazzland with the Montgomery Brothers including Wes Montgomery inand began playing concert dates with symphony orchestras. Niels Henning Orsted-Pedersen - bass The Robert Farnon Orchestra For a long stretch of time in the s 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.

Inhe formed the first and most famous of his quintets, which included Marjorie Hyams on vibes thus striking an important blow for emerging female jazz instrumentalistsChuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Farnon made his career in England after the war, writing mood music for Chappell Music, a task at which he was eminently successful, his music not only popular in the broadcasts for which it was intended, but also entering the repertory of numerous pops orchestras in England and around the world.

Farnon succeeded Faith as director of the orchestra when Faith departed Canada for America.