All God's Chillun Got Rhythm

George Shearing · Other Songs - George Shearing

I got a frown, you got a frown

All God's chillun got a frown on their face

Take no chance with that frown

A song and a dance, turn it upside down



Ah, ah, ah, ah, zazoo, zazoo

All God's chillun got rhythm, all God's chillun got swing

Maybe haven't got money, maybe haven't got shoes

All God's chillun got rhythm for to push away their blues



All God's chillun got trouble, troubles don't mean a thing

When they start to go, "Ho ho ho"

The old troubles bound to go 'way, say

All God's chillun got swing



All God's children got trouble

Da da do day, ra do day, ra do da do, da da, da da day

Doh da do day, da do day, ra do, da do, da do day



Maybe haven't got money or maybe haven't got shoes

All God's chillun got rhythm for to push, for to push

For to push away their blues



All God's chillun got trouble, troubles don't mean a thing

When they start to go, "Ho ho ho"

The old troubles bound to go 'way, say

All God's chillun got swing



Swing it high, swing it low, hell, let 'em go, hah hah, yea

Swing it up, swing it down, ah hah let it go, oh hah, yea



Ain't got money, ain't got shoes

All God's chillun got rhythm

For to push away their doggone weary blues



Three cheers for the red, white and blue

Swing it up to the sky, don't ask how, don't ask why

Brother, go go oh hoh, blow blow, way hay ay

All God's chillun got swing, swing, swing

All God's Chillun Got Rhythm

George Shearing's 'All God's Chillun Got Rhythm' stands as a definitive example of his virtuosic approach to jazz piano. Recorded during the mid-20th century, the track showcases Shearing's signature 'celesta' sound, blending delicate, bell-like tones with intricate, rolling arpeggios that define his unique voice. The composition reflects the sophisticated harmonic language of the swing and post-bop eras, characterized by complex chord progressions and fluid improvisation. As a solo piano work, it highlights Shearing's technical mastery and his ability to create lush, atmospheric textures without the support of a full ensemble. The piece remains a staple in the discography of this influential British-American pianist, celebrated for its elegance and its role in shaping the modern jazz piano repertoire.