Chords for George Shearing and Billy Taylor

Well George, _ _ _ you mentioned _ coming to _ New York and _ _ _ _ _ _ _ stylistically interesting, _ but when I first
heard you, you sounded, you really, I heard the _ influence, I know it was in the Onyx Club or_ Right.
Yeah, Onyx Club.
Yeah, and _ _ _ you sounded, I could hear the Fats Waller and the Tatum and the_
Well that was a big problem.
Yeah, _ but then you went home and really got something else together.
Tell me about that,
what'd you do?
I had to, because when I came over here, I _ would go to play for these _ big agencies,
you know, William Morris and people like that, and they all wanted to make another
Alec Templeton [Bm] out of me, you know.
_ _ [F] The only thing to continue success is to repeat it, you know.
Right. _ _ _
I couldn't do that, [E] I wasn't equipped that way.
So, _ _ and yet I thought to myself,
_ _ _ you know what really is bothering them? _ _ _
What do they need?
The English Art Tatum,
the English Fats Waller, _ _ _ _ the English Teddy Wilson, they've got the real one. _ _ _
[Cm] And so I heard Milk Buckner, you know, _ _ _ _ _ _
[F] _ _ [G] _ _ [C] _ _ _ _
[F#] _ _ [G] _ [G#m] _ _ [Am] _ _ _
_ [F] _ _ _ _ [Am] _ _ [G] _
_ [Cm] _ _ _ _ [F] _ _ [G#m] _
[C] _ _ [Em] playing the blues [Bm] with the locked hand style.
_ _ And so I always say that _ my arrival _ _ _ _ in the locked hand style came _ from Buckner _ and _ _ _ [D#] from_ _
_ _ _ _ _ [C] _ _ _
[D] And _ [Fm] _ _ _ so _ _ [A#] _ _ [Fm] _ _ _
[E] I adapted [Bm] Milk Buckner and _ Glenn Miller, _ who, [E] _ [Bm] _ _ [E] _ _ [Bm] _ _ _
[F#m] _ _ this one I won't play too [G] much of because _ I_
You [Cm] played it before.
I've tried to kill [G] the Quintet ever since I _ _ demised it, you know. _ _
_ _ _ _ _ _ _
So I really don't want that _ ever to be a market for it.
Now let's just talk about the Quintet for a minute, though.
_ The Quintet really was
_ _ _ a much more musical group than most of the critics.
I mean, once _ you become famous,
you become fair game for everyone to say, well, it's just a commercial group.
But you guys played
some very, very interesting arrangements and pretty intricate. _ _
Tell me about _ the kind of
voicings that _ became the Schurring sound.
Well, _ _ I always like to _ _ _ _ describe it in terms of just the
scale, which of course everybody _ knows, and _ not [C] to get too technical, C major [F] 6, D [C] diminished,
C major [F] 6, F diminished, [C] C major 6, [A] A [B] diminished, B [C] diminished, C, major 6.
_ And so it's what _ we used to do is _ Marjorie would play there, _ Chuck would play there on guitar,
so vibes [Bm] guitar, _ [C] and the piano would [D] [Am] play _ [B] all [C] five [F#] voices.
[B] _ _ [C] _ [B] Not that, because that's just
the harmonization of the scale, but _ it's probably the most _ familiar vehicle to most people.
[E] _ And consequently, _ _ [C] they would be able to [Dm] deduce from [C] [D] this [C] _ [F#] _ [B] _ _
[C] how we [F] could come up with,
[G] _ [F] _ _
[G] _ _ [F] _ _ _ [Am] _ _ _
_ _ _ _ _ _ [F] _ _
[B] and of course, [C#m] when you're playing those kind of _ _ _ [Bm]
fairly well thought out changes, _ _ _
_ you really have to write your bass line.
You can't give the bass player a series of chords,
_ _ because if you [F#m] do, then _ _ _ _ _ _ _ _ _ he's [E] _ [A] _ _
[G#] _ [F#] _ _ _ [Bm] _ _ [E] _ _
_ _ _ _ [B] _ really not going to land on the right chords at the right time.
So,
[Bm] _ _ _ _
[A] _ _ [Bm] _ _ [E] _ _ _ _
_ _ [A#] _ _ [F#m] _ _ _ _
_ _ [E] _ _ [A] _ _ [G#] _ _
[F#m] _ _ _ _ [Bm] _ _ _ _
_ [C#m] _ _ _ _ [D] _ _ _
_ _ _ [E] _ _ _ _ _
_ _ _ _ _ [A] _ _ _
[N] _ all those bass notes fall into place because they've been planned.
Well, _ did that _ _ particular _ _ kind of exercise _ _ _ _ give you _ _ any _ new information in terms of the way you
re-voiced things?
I know you've put out some piano books where you re-voiced _ _ songs like
Over the Rainbow and pieces like that.
Oh yeah, it gave me a lot _ of information,
because I was [G] forever thinking of what can I do. _ _
_ [Am] _ _ _ _ _ [Em] _ _
[C] _ _ _ _ [G#] _ _ [G] _
[Em] So, _ _ _ _ _ [C] _ _
_ _ [Am] _ _ [D#m] _ _ [Dm] _ _
[Am] _ _ [G] _ _ _ [Am] _ _ [G] _
_ _ [Am] _ _ [Bm] _ _ [E] _ _
_ [F#] _ _ [Fm] _ _ _ [D#] _ _
[C#] _ _ [G#] _ _ [Gm] _ _ _ _
[E] _ _ _ [D#m] _ _ _ _
the [C#] bass _ _ line really becomes a melody in
itself.
And I think the prime example of that _ _ _ is, you take [N] a tune like Autumn Leaves, you really
could break the bass [G] line up, as you know, Billy, _ into _ [Am]
arpeggiation.
_ _ _ [D] _ _ _ _
[G] _ _ _ _ [C] _ _ _ _
[Am] _ _ _ _ [F#] _ [B] _ _
There's nothing [G] wrong with
that at all, it's a perfectly good bass line.
However, _ _ _ _ [F#m] _
_ [Em] _ [Am] _ _ [C] _ _ _ [Am] _
[D] _ _ _ _ [A#] _ _ [D] _ [G] _
[Bm] _ _ _ _ [G] _ [C] _ _ [E] _
[D] _ _ [C] _ [F#] _ _ [Am] _ _ _
[F#] _ [B] _ _ _ _ [G] _ [B] _ _
[Em] _ _ _ [G] and [B] where does that come from?
That
[Em] comes from, not in actuality, but in _ texture. _
_ [F#] _ [C] _ _ _ _ _ _
[Am] _ [D] _ _ _ [Em] _ _ _ _
_ _ _ _ [C] _ _ [D] _ _
[F#] _ _ [G] _ _ [F#m] _ _ [B] _ _
_ [C#] _ _ [B] _ [Em] _ [F#] _ _ [Em] _
_ _ It [F#] _ _ [C] _ _
_ comes _ [B] from Bach, right?
I mean, _ that's the
[A] Bach invention, he's all over.
_ A few minutes ago, you guys were talking about _ strange modulations _
_ and surprising _ _ again. _
_ [Dm] _ _ _ [C#] _ [Dm] _ _ _
_ _ _ _ _ [A#] _ _ [Dm] _
_ _ _ _ _ _ _ _
_ [F] _ _ _ [C] _ _ _ _
[F] _ _ _ _ _ _ _ _
[C] _ _ _ _ [F] _ _ _ _
_ [C] _ _ _ _ [F] _ _ _
[A#m] _ _ _ [Dm] _ _ _ [G] _ _
[Dm] _ _ _ _ _ [Bm] _ _ _
_ _ _ [Em] _ _ _ [D] _ _
_ _ _ _ So, it's a [E] front, right?
Yeah, _ very _ _