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An overlooked 60s gem from George Shearing – mellow and jazzy, and done with a slightly different style than usual! Deep Velvet takes Shearing's piano and vibes and backs them up with a 12-piece woodwind choir – one that creates a shimmering backdrop of colors and tones for the core sound of the Shearing quintet – and a mode that allows George's work on piano to explore with even more lyrical openness than before. The woodwinds occasionally step out a bit in some complicated passages of their own, but the real charm of the record, as always, is from the Shearing touch. Titles include "Passing By", "Would You Like To Take A Walk", "Signing Off", "One Love", "Slowly", "My Heart Stood Still", and "I Used To Be Color Blind".

An unusual one for George Shearing – in that this Capitol session's a trio date, instead of Shearing's usual quintet mode – working in an Ahmad Jamal-like trio with drums by Vernel Fournier and bass by the late Israel Crosby! There's flowing, subtly soulful sound going on here – one that's almost an homage to Jamal, but which still has some of the more Shearing-like tones to ring out and announce George's influence on the date. The album was sadly Crosby's last recording, but his bass still sounds great – and titles include "Wonder Why", "Blues In 9/4", "Heart Of Winter", "What's New?", and "Symphony".

The George Shearing Quintet – with added orchestrations – all in a blend that's got that pillow-soft sound that Shearing did so well back in the 50s! Arrangements are by George and Billy May – the latter of whom is especially subtle here, bringing things in with the best ballad mode he'd use behind Sinatra – yet tailored nicely for Shearing's use of vibes, guitar, and added Latin percussion. And as with some of George's best records, even when things are gentle, they still know how to swing – thanks to a sense of space and timing that's always a treat. Titles include "Moon Song", "The Folks Who Live On The Hill", "If I Should Lose You", "Black Satin", and "Starlight Souvenirs".