Easy To Love
Play The Music Of Cole Porter
All arrangements by George Shearing.
Special thanks to Frank Metis for his tremendous assistance in the orchestration and transcription of Mr. Shearing's arrangements.
Conductor Mike Renzi
Produced by Carl E. Jefferson
Assistant Producer: Chris Long
Recorded and Remixed at Penny Lane Studios, New York City, January 1986
Recording Engineer: Ed Trabnaco
Assistant Engineer: Phil Edwards
Mastered by George Horn
Liner Photographs: Tom Copi and Fritz Curzon
Art Direction and Illustration: Tom Burgess
Concord Concerto CC-2010
From the back cover: I am sure there are those of you who are wondering how it comes about that a classical French horn player gets together with a jazz pianist for the purpose of recording an album. In brief explanation, I have long been a great fan of Barry Tuckwell. I love to hear him play Mozart or just about anything else in the classical repertorie. But it wasn't too long ago that I heard him playing a number of tunes by Jerome Kern. I got an idea then and hoped that I could bring it to fruition sooner than later.
In August of 1984, my wife and I were in Salzburg, Austria for the summer music festival. We attended an orchestral concert with Barry as soloist in a Mozart horn concerto. We were so overwhelmed by his masterful artistry that we couldn't get up the courage to go back and introduce ourselves.
In August of 1985, I was to appear with the London Symphony in a Pops concert conducted by John Dankworth. During the flight to London, I learned that Barry Tuckwell was also appearing on the program.
While sitting in my dressing room just before the start of the concert, I heard the sounds of a horn player warming up. Those sounds were emanating from the dressing room next door. Being a very reserved Englishman, it didn't bother me one bit to knock on Barry Tuckwell's door. When he opened it I said that I didn't want to interrupt him while he was warming up his chops but that I did want to meet him because I had been a fan for so long.
We started to talk and I said, "I have an idea, If an encore is needed, why don't we combine forces in a rendition of "Long Ago And Far Away"? I've heard you play it." He hesitated a bit and then said, "Oh George, I don't even know if I remember the tune." So, we went to my dressing room where there was a piano and we rehearsed it a little bit until it was time for me to go on. I asked my bass player to hum the second sixteen bars to him while I was on stage.
We did, indeed, do it as an encore. I am happy to report that when the last note had died away, there was a second or two of silence and then the place burst apart with applause. (P.S. This resulted in much conversation between Mr. and Mrs. Barry Tuckwell and Mr. and Mrs. George Shearing.)
Two night later found the Shearings at the Tuckwell's delightful London home for dinner. I was seated at one end of the dining room table and Barry at the other. And as we sat down, Barry and I said almost simultaneously, "I want to do an album together," What you are hearing or about to hear is the result.
The sales pitch to Carl Jefferson, president of Concord Records, was not difficult at all. He had wanted me to record an album with a horn for a long time. I took full responsibility for the French horn parts hoping that I would not be asking the impossible. Of anyone else, I probably would have been asking the impossible. But no of Barry Tuckwell. What a joy to work with a man like Barry. – George Shearing
Concentrate On You
Everything I Love
I've Got You Under My Skin
Easy To Love
In The Still Of The Night
Every time We Say Goodbye
But In The Morning
So In Love
All Through The Night
Do I Love You?