Wanting More From ‘Complete’ Shearing

Though the evening was billed as “The Complete George Shearing,” some sides of the 77-year-old pianist’s career were given short shrift Saturday at the Irvine Barclay Theatre.

Shearing, a Londoner whose piano-guitar-vibraphone quintet was a sensation from the time it was formed in 1949, has reformed the group (with a new generation of players); it’s the first time in 18 years that he has used the format. Despite the retrospective nature of the billing, this group spent nearly the entire concert on the stage.

Brushed over quickly were Shearing’s early days as a soloist: The only things he played alone were the Meade Lux Lewis boogie “Honky Tonk Train Blues” and the standard “So In Love.” Each was a fine example of his unique ability to guide a tune through a number of rhythmic and mood changes, and each showed that he still is an inventive, witty and passionate soloist. But they left one wanting more.

“So In Love” was especially revealing as he wove varying themes and tempos into the song. Stride rhythms mingled with classical feeling. Grand, emotional moments subsided in humorous asides. The tune’s many-sided moods seemed to reflect the complex emotions suffered by the lovelorn.

From there Shearing quickly brought on the other members of the quintet, featuring each one in an individual number. His longtime bassist Neil Swainson demonstrated the empathy that can come from an extended musical relationship. Guitarist Reg Schwager, though no Joe Pass, showed some of Pass’ phrasing and wile as he improvised. Vibist Steve Nelson, playing “Satin Doll,” displayed a light touch and some of fellow-vibist Bobby Hutcherson’s vigor.

But the effect of having so many other musicians on stage seemed to reign in Shearing’s own spontaneity, and he never again reached the high level of play that he had displayed solo. Instead, his improvs were brief, cursory affairs, as he seemed anxious to give his sidemen equal footing

and their own improvisational space.

The piano-guitar-vibes combination--an extension of Shearing’s “locked-hand” unison play--can add tonal texture to theme lines as the instruments blend on the melody. But the lush, translucent sound was diminished this time, as Nelson’s vibes often were invisible in the sonic mix.

Only near the end of the program, when Shearing played his signature “Lullaby Of Birdland,” did all three instruments become audible, giving the popular piece additional impact.

The show’s retrospective nature did give Shearing plenty of time to recall incidents from his career, and opportunities to tell some of the self-deprecating jokes he’s been telling audiences for years (“When I was 15, I played in an all-blind band. . . . Our theme song was ‘I’ll See You In My Dreams.’ ”) He also explained how the late critic-composer Leonard Feather originally suggested the idea of bringing guitar and vibraphone into his trio.

At times, with so many memories and recollections, it seems that Shearing was conducting a farewell tour. And “Everytime We Say Goodby,” with his no-apologies vocal, was a particularly somber way to end the program.

If only we’d heard more of his piano. While the group gave emotionally charged readings of “East Of the Sun (West Of the Moon)” and Bill Evans’ “Very Early,” too little of the Shearing’s own wisdom was revealed.

* George Shearing plays Wednesday at the Alex Theatre, 216 N. Brand Blvd., Glendale. 8 p.m. $29.50 and $22.50. (818) 243-2611.