| The Shades Of Love - Dewey Erney | |||||||||||||||
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1999 | CD | RESURGENT MUSIC
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| LISTEN TO MP3 SAMPLES | PURCHASE CD | READ LINER NOTES | QUOTES/REVIEWS |
| CD TRACK LISTING & MP3 SAMPLES | LENGTH | |||
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1. | What Are You Doing The Rest Of Your Life? (Legrand/Bergman) | 4:38 | ||||
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2. | Prelude To A Kiss (Ellington/Mills/Gordon) | 4:07 | ||||
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3. | Love Is Here To Stay (Gershwin/Gershwin) | 4:00 | ||||
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4. | Where Did It Go? [ Manhá De Carnival ] (Bonfa/Bachelor) | 4:30 | ||||
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5. | They Can't Take That Away From Me (Gershwin/Gershwin) | 6:04 | ||||
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6. | In the Wee Small Hours of the Morning (Man/Hiliard) | 3:07 | ||||
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7. | The Legacy (Clausen/Wolf) | 4:38 | ||||
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8. | On Green Dolphin Street (Kaper/Washington) | 4:30 | ||||
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9. | Wave (Jobim) | 2:36 | ||||
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10. | Goodbye (Jenkins) | 4:39 | ||||
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11. | A Sleepin' Bee (Arlen/Capote) | 3:47 | ||||
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12. | Once You've Been In Love (Legrand/Bergman) | 4:19 | ||||
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13. | Ain't Misbehavin' (Waller/Razaf) | 6:10 | ||||
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14. | A Lazy Afternoon (Moross/Latouche) | 4:28 | ||||
| SALES OPTIONS | |||||
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OTHER OPTIONS: CDs may be purchased from Dewey at his gigs. | ||||
| LINER NOTES | ||||
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First may I state how pleased I am to have been asked to write these liner notes about a singer I have long admired and respected. I have followed Dewey's recorded career starting from his first album for the Discovery label entitled A Beautiful Friendship, to his second album, The Second Set for Sounds Great records ... and naturally his current numerous CDs on the Resurgent label. If there was one word that describes Dewey's talents to a "T" for me, I would say that word is his HONESTY with a lyric. I have shared so often, both in print as well as on radio broadcasts, my feeling that if you want to separate the real singers from the rest, just ask yourself "Do I believe what I hear?" You'll never hear any artificiality in Dewey's reading of a lyric. It's always right from the gut ... the heart. In the music climate of today where mediocrity seems to be the norm, and words like great, beautiful and genius are overused, Dewey is a breath of fresh air! Erney's delivery is a throwback to a style of vocalists of the past, song stylists who really knew their craft and got into thc meat of the lyric, the heart of what the writers intended, free of ego and self-indulgence. Influences like Tormé, Dick Haymes, Joe Mooney come to mind in the stylings of Erney and yet his delivery is truly his own unique interpretation. No imitations here. Another interesting thing about any Dewey Erney program is his impeccable taste in songs. He's paid his dues, done his homework, and it shows in all the tunes he chooses for his albums. This fifth album for Resurgent is no exception. With writers like Legrand, Ellington, Gershwin, Jobim, Arlen, Tommy Wolf, etc, Dewey once again has placed himself in the best song company. The program opens with two true torch songs. Michel Legrand and Alan & Marilyn Bergman's haunting "What are You Doing The Rest of Your Life", from the movie The Happy Ending is followed by an Ellington staple, "Prelude to a Kiss". They set the overall mood for this album which is tender and reflective. A change of tempo brings George and Ira's ultimate love song, "Our Love Is Here to Stay". This is complete with its' often omitted verse. This track includes strong support by pianist Gerry Schroeder and the sax of Tom Kubis. Up next up is my hands-down favorite track on this recital, "Where Did It Go?" (Manhá De Carnival by Luiz Bonfa & Ruth Bachelor) from Black Orpheus. This is a perfect example of Dewey wrapping his voice and soul around a quality lyric, painting a picture that irresistibly draws in the receptive listener. The point of honesty alluded to earlier in these notes is perfectly demonstrated in this performance. Just listen to it quietly. Again we turn to the Gershwin brothers with They Can't Take That Away From Me from the musical Shall We Dance, and also the return of Tom Kubis for some nice sax work. One of my all-time personal favorite saloon songs is "In The Wee Small Hours of the Morning" (Dave Mann & Bob Hilliard). Again Dewey has the good taste to include the short but ever so effective verse in this classic. The strong yet gentle piano support of Gerry Schroeder should he mentioned here. In fact, throughout this CD his playing is a model of impeccable understatement. The next tune, one I was not familiar with until this new CD, is called The Legacy, written by Tommy Wolf and Alf Clausen. It's another shining example of Dewey's tender reading of a very unusual lyric and he tells this love story so well. On a personal note, this tune is a favorite of Dewey's wife Sandra, who was present during this entire session. Now again on a gently swingin' note we hear, complete with the rarely-heard verse, "On Green Dolphin Street" (Kaper & Washington), from the movie of the same name. Dewey has always had an affinity and deep appreciation for the warm Brazilian rhythms of writer Antonio Carlos Jobim. The song is Wave and from the first words of the lyric, "So close your eyes." Erney sets a mood that is immediately accessible and loving. This is another standout on the CD. Arranger, composer and lyricist Gordon Jenkins wrote the next tune, "Goodbye", and it's one of his finest. Pianist Gerry Schroeder and Dewey make this sad song their own. The performance starts gently, builds, and then returns again to its' somber feeling of lost love. Next from the Broadway production House of Flowers (Arlen & Capote) Dewey gives us his up-tempo treatment of the song "A Sleeping Bee". Composer Michel Legrand has had many lyricist partners over the years, but none so successful as with the husband and wife team of Alan & Marilyn Bergman. Songs like "The Windmills of Your Mind", "Pieces of Dreams", " I Will Say Goodbye", " The Summer Knows"... and the first song on this album, "What Are You Doing The Rest of Your Life" ... are just a few of their notable collaborations. "Once You've Been in Love" although not as famous as those above, is another welcome gem to this CD. Dewey's reading here is full of character. A song from the team of Fats Waller and Andy Razaf is next. Erney and Schroeder give "Ain't Misbehavin'"the slow and moody approach, along with the sultry sax of Tom Kubis. We close this program with the truly pastoral song, "A Lazy Afternoon" (Latouche & Moross) from the Golden Apple. Pianist Gerry Schroeder is particularly creative here, interpolating impressionistic strains of Delius or Vaughn Williams into his piano registrations. Dewey's reading again is full of understanding and warmth. The performances on this CD are meant to be played and replayed. With each new hearing, additional nuances will reveal themselves, and that's how it is with anything of lasting value. Singer Dewey Erney may not at this writing be a household name, but as he continues to add CDs like this to the ones he's already done, his fame and followers will increase. So find a cozy armchair, sit back, put everything else aside and just let the vocal magic of Dewey Erney weave its' spell.
Michael Paul Lund - July 1999 Previous CDs: 1. Standards of Excellence, Volume 1 - Dearly Beloved 2. You And The Night And The Music - Standards of Excellence, Volume 2 3. Time Was - Standards of Excellence, Volume 3 4. You'd Be So Nice To Come Home To - Standards of Excellence, Volume 4 Notes on the Album by Gerry Schroeder - The summing up of a long life of dedication is evident in this glorious music sung by Dewey Erney. There are the voice, the words, and the notes, but there's also the spirit of the composers and lyricists, too. Only the most secure, seasoned, and aware vocalists can combine each of these elements into the complete package that such music requires, and fortunately, Dewey has the voice and musical personality to do it, beautifully. I'm so proud to work with an artist I've known and admired since we first worked together in the 60's. With Dewey, the music has always come first, and I feel this intimate collaboration is perfect proof of the integrity of his vision. These 14 songs are the finalists from a long list of contenders written by the best song writers we have to offer, whom I feel to be the Schuberts and Schumann's of our time, including Ellington / Strayhorn, Gershwin, Legrand, Porter, and Fats Waller, among other talents (including a fine but unknown classic-to-be by Alf Clausen and Tommy Wolf called The Legacy). Please note the difficulty of the material. Some of these melodies are murder even when simply picked out on the piano; to be sung, in tune, with emotional content intact and lyrics that can be clearly understood, is the mark of the mature master. Add to that, the tempos, many slower than usual, presenting problems of breath control and phrasing that Dewey surmounts with natural ease. And lastly, we worked very hard on reharmonizations that would enhance the material - just as it might appeal to someone who had visited a site many times before, but would look with delight at some new paint and landscaping on the old familiar structures. Dewey has the ears to enjoy the challenge - and not to be intimidated. Sitting here and listening to this music, I feel that Dewey has furnished the opportunity and imagination to allow us to do what jazz musicians do best - to create and recreate, to practice, ponder, and finally to perform - in a perfect setting of just superb material, a piano, some fine saxophone, and a voice to be cherished and heard again and again. Notes and thanks from Dewey Erney Gerry Schroeder - I met Gerry Schroeder over 30 years ago when he was playing in a club in Laguna Beach, right across the street from the club where I was performing. We became friends and have remained so ever since. It ready boggles my mind that this is Gerry's first commercial recording because, as you can hear, he plays so sensitively and right on. For the purposes of this love album, I just can't imagine any other pianist being more attuned to my approach to these wonderful songs. Thank you, Gerry, for your most beautiful contribution to this recording. Tom Kubis - I've known Tom Kubis almost as long. He has always been a phenom from Orange County, where at a very young age he was arranging terrific big-band charts for Bob Cassen's Orange County Rhythm Machine. Since that time he has gained fame by continuing in the big-band tradition: with his own band, as Jack Sheldon's musical director for Jack's big band, and as Steve Allen's musical director for Steve's big-band outings. This may well be Tom's first recorded outing in an intimate setting such as this. Tom and Gerry (Where have I heard that one?) are both instructors at Golden West Community College in Huntington Beach, California in the jazz and vocal instruction fields. I have been so fortunate during my time on this planet to have made music with some of the greatest musicians out there, both recording-wise and club-wise. The two musicians heard here fall into that category. It has been my approach in recent years to sing many of what I consider to be the best of the Great American Songbook. I truly love this music and hope that the respect that I have for the material, and the composers and lyricists who gave them to us, will reach the ears of all who listen. I've always considered the song to be the real star of the show. I'm thrilled when someone says they understood all the lyrics and/or thanks for making the melodies clear. In my humble opinion, that's the function of the vocalist - make what you do musical and understood. Thank you so much for the purchase of my recordings and the attendance at my live appearances. More Thank You's Wife, Sandra, who always gives me the best advice and the most honest assessment of my performances. She's known to Jim Mooney and Gerry Schroeder as "ears". Dan St. Marseille - Resurgent Music for your continuing belief in my renderings and for your friendship. All the Erney's from Latrobe, PA and Manchester, MO, the Prestia's from Perryopolis, PA, and especially my niece Linda Vesco, who appears to be my #1 fan, for insisting that I record her favorite song In The Wee Small Hours. Bob Cendejas and Steve Rosander for their help in making these recordings possible. Mike Campbell for giving me the music to The Legacy. Michael Paul Lund for his continued support. |
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| QUOTES / REVIEWS | ||||
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