"Having a set, popular formula does inhibit you"
About this Quote
A “set, popular formula” is the musical equivalent of a well-lit highway: efficient, predictable, and lined with billboards telling you exactly where to look. George Shearing’s line lands as a quiet warning from someone who benefited from polish and accessibility but understood the trade-off. He’s not condemning popularity; he’s naming the invisible handcuffs that come with it.
Shearing’s own career gives the subtext bite. He was celebrated for the “Shearing sound” - that luminous, locked-hands piano voicing doubled by guitar and vibraphone - a signature so recognizable it became a brand. Brands sell comfort, and comfort sells tickets. But once a style is legible enough to become a “formula,” audiences, labels, and even bandmates start treating deviation as a breach of contract. You’re no longer just making choices; you’re managing expectations.
The phrasing matters: “does inhibit you” is plainspoken, almost reluctant, like a musician admitting a truth he’d rather not. It suggests a constraint that isn’t dramatic or overtly oppressive, but cumulative: safer set lists, familiar tempos, the pressure to reproduce last night’s applause. In jazz especially - a music built on risk, failure, and real-time invention - the popular formula can turn improvisation into reenactment.
Shearing is pointing to a broader cultural loop: mainstream success rewards repetition, then punishes growth. The line reads less like bitterness than like a professional diagnosis: if you want to stay alive artistically, you have to keep breaking the very pattern that paid your rent.
Shearing’s own career gives the subtext bite. He was celebrated for the “Shearing sound” - that luminous, locked-hands piano voicing doubled by guitar and vibraphone - a signature so recognizable it became a brand. Brands sell comfort, and comfort sells tickets. But once a style is legible enough to become a “formula,” audiences, labels, and even bandmates start treating deviation as a breach of contract. You’re no longer just making choices; you’re managing expectations.
The phrasing matters: “does inhibit you” is plainspoken, almost reluctant, like a musician admitting a truth he’d rather not. It suggests a constraint that isn’t dramatic or overtly oppressive, but cumulative: safer set lists, familiar tempos, the pressure to reproduce last night’s applause. In jazz especially - a music built on risk, failure, and real-time invention - the popular formula can turn improvisation into reenactment.
Shearing is pointing to a broader cultural loop: mainstream success rewards repetition, then punishes growth. The line reads less like bitterness than like a professional diagnosis: if you want to stay alive artistically, you have to keep breaking the very pattern that paid your rent.
Quote Details
| Topic | Music |
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