George Shearing - Two Unique Offerings

I haven't dealt with popular music for quite some time now; therefore, please allow me to do so: I have in my vast library of historical performances two gems that delightfully represent the wonderful pianist from Britain, George Shearing.
The video I have was done at a Boston Pops concert around 1980, and includes the following morsel:
With conductor John Williams and the Boston Pops Orchestra looking on after a number done by Shearing and the orchestra, Shearing announced that he had finally come up, after countless public performances, with a new incarnation of his famous "Lullaby of Birdland." He then proceeded to play the tune with the customary sophistication one expects from a Shearing arrangement.
Accompanying Shearing was the acclaimed bass player, Don Thompson.
About a minute or so into the tune, Thompson stopped playing , placed his string bass on the floor, and proceeded to the piano, with Shearing still playing. Thompson then sat on one edge of the piano bench, gently but firmly pushed against Shearing, easing him off the other side of the bench, and picked up on the piano where Shearing had left off. Shearing stood for a few moments next to the bench while Thompson proceeded to overwhelm the audience with really brilliant piano playing.
Shearing then eased himself back onto the bench on the upper side of the keyboard, and the two of them began a truly historic performance of "Lullaby of Birdland", part of which included a section of Bach's "Sheep May Safely Graze," played by Shearing, and which fit perfectly into the harmonic pattern of "Lullaby" (leave it to Shearing to create such cleverness!).
The tune went on for another couple of minutes, with a virtuoso ending by both Shearing and Thompson (who absolutely stunned me with his piano abilities), followed by a tumultuous reaction from the audience. What an event!
The second gem is on an audio cassette, done around thirty years ago, in New York, with George Shearing (believe it or not) as a disc jockey on an all-night jazz radio program, which went on for about two hours. Shearing would discuss the record he was about to play, and eventually put on some records of his playing which he had brought with him to the radio station, none of which had ever been released commercially. The program ends with a couple of Shearing performances
on (honestly!) an accordion.
I have this tape.
If you have interest, perhaps you should try Google or some other internet entity to see if you can obtain these two rarities.
Good Luck!

George Shearing - How did He Learn To Play?

In my young years, I was given the privilege and opportunity to sit down with the great pop and jazz pianist from England.During the conversation, I chanced the question "how did you learn to play the piano?"
He smiled(he must have been asked the same question a thousand times before!), and went on to discuss using distance as a device to find each and every note from where he sat.
Distance, to one without sight, is comprehended in pure terms; that is, in ways those of us who can see could not possibly experience.
It must have been a long and tortuous process, but this approach to process made it virtually impossible for Shearing to play a wrong note, as pure distance led him to discover where the exact center of each note was, which cannot be the case all the time for the sighted pianist, no matter how great he or she might be.
If one watches Shearing play on any video available, it will be seen that indeed(more easily seen in slow motion)Shearing finds the exact center of every note struck.
That conversation was indeed one of the most engrossing I have ever experienced, primarily because it gave me added perspective to the word Process, as it pertained to a unique example actuated by one of the unique musicians of our time.