Released in 1959, Beauty and the Beat! is an album by Peggy Lee, accompanied by the George Shearing Quintet. It was produced by Dave Cavanaugh.

George Shearing, after over two decades as leader of his popular Quintet, was largely taken for granted as a pianist. His trio recordings for MPS in the mid-'70s did a lot to salvage and restore his former reputation as a virtuoso and a distinctive player.

This particular George Shearing Trio recorded three albums for MPS during 1977-79 and provided an excellent outlet for the brilliant pianist just prior to his association with the Concord label.

The Spirit of 176 is a 1988 album by the jazz pianists George Shearing and Hank Jones. Allmusic's review wrote of Shearing and Jones that "Their unique matchup as a two-piano duo on this Concord release works surprisingly well for the two pianists manage to stay out of each other's way and the ensembles are not overcrowded. …the results are swinging and tasteful. This somewhat obscure Concord CD is worth investigating".

A wonderful release with pianist George Shearing collaborating with violinist Stéphane Grappelli. Shearing's sessions are usually more introspective and light than upbeat and hot, but Grappelli's soaring, exuberant violin solos seem to put a charge into Shearing, who responds with some of his hottest playing in many years.

This solo piano set by George Shearing is quite eccentric and unpredictable. Freed from the constraints of his popular Quintet, Shearing lets his imagination loose on songs that include 'My Ship,' 'Happy Days Are Here Again,' 'The Entertainer' (which is turned into jazz after a rag beginning), 'Londonberry Air,' and – unfortunately – 'Send in the Clowns,' on which he makes the mistake of singing. Some of the classical allusions are a bit too cute, but Shearing's wit and charm eventually win one over.

Led by Sir George Shearing’s great nephew, drummer Carl Gorham, Shear Brass brings a fresh and dynamic new approach to the music of one of Britain’s greatest ever jazz pianists and composers. Celebrating Sir George Shearing, combines the punch of a big band with the intimacy of a small group, as this hard-swinging, highly melodic outfit showcases some of the UK's most gifted soloists. Whether reinterpreting classics such as Conception and Lullaby of Birdland or re-introducing lesser-known tunes such as Night Flight and Children's Waltz, its richly varied repertoire mirrors Shearing's own development, encompassing swing, be-bop, cool and Latin jazz, topped off with some of the most celebrated vocal numbers of the 20th century.

Singer Mel Tormé and pianist George Shearing make a perfect team, bringing out the best in each other. With the assistance of bassist John Leitham and drummer Donny Osborne, the swinging, witty duo performs a variety of standards, including Noël Coward's "Someday I'll Find You", "The Way You Look Tonight", and "Anyone Can Whistle", and a couple of medleys highlighted by a humorous six-song "New York, New York Medley". All of the Tormé/Shearing collaborations are quite enjoyable and highly recommended as some of their best work of the 1980s.

A lost gem featuring wonderful and talented jazz musicians, blessed with feel, harmony and driving vibes. Great session and recordings.

This 1976 session finds pianist George Shearing at a crossroads in his career, transitioning from his classic quintet to working with smaller duos or trios. He is accompanied here only by bassist Andrew Simpkins, an alumnus of The Three Sounds. The material focuses mainly on pop hits, from the Beatles to "Mack the Knife".

The most underrated recordings of George Shearing's career were his trio sets made in the mid-'70s for MPS after the breakup of his popular Quintet. This particular LP is one of three that feature the brilliant pianist in a drumless trio with guitarist Louis Stewart and bassist Niels Pedersen. The music is essentially bop-based with just one newer song (an interesting version of Chick Corea's "500 Miles High") included among the nine standards. The more memorable selections are "I Wished on the Moon", "Old Folks" and "Here's That Rainy Day". Tasteful performances with plenty of subtle surprises.

"Nat King Cole Sings/George Shearing Plays" is a 1962 studio album by Nat King Cole, featuring the pianist George Shearing. At the time the album peaked at 27 on the Billboard album chart.

The formula for the George Shearing Quintet was wearing very thin by the time of this 1974 release, although he adds two Latin percussionists to the group for variety. The lack of notable sidemen means that Shearing does almost all of the solos, excepting the guest percussionists, but the major weakness of this record is the inane material. While Stevie Wonder's 'The Sunshine of My Life' has been successfully absorbed into the jazz repertoire, forgettable turkeys like 'Do You Know the Way to San Jose,' 'Killing Me Softly,' a Muzak-like rendition of 'Superstar' (the sleep-inducing hit for Karen Carpenter written by Leon Russell), the insipid 'The World Is a Ghetto,' and especially the nauseating Gilbert O'Sullivan ballad 'Alone Again (Naturally)' prove that even a first-rate musician can do little to make these tunes interesting to jazz listeners.

This particular George Shearing Trio (with guitarist Louis Stewart and bassist Niels Pedersen) recorded three albums for MPS during 1977-79 and provided an excellent outlet for the brilliant pianist just prior to his association with the Concord label.

George Shearing's classic quintet is expanded to seven members on this release as two of Shearing's "amigos," Latin percussionists Carmelo Garcia and Chino Valdes, sit in on this 1975 release of pop standards. Includes a reading of Shearing's biggest hit and signature tune Lullaby of Birdland.