I Remember You, Johnny Mercer   -  Dewey Erney
				2007 | CD | Dewsong Music MUSICIANS: Dewey Erney, vocals Tom Ranier, piano Ron Escheté, guitar Luther Hughes, bass John Perett, drums Originally recorded in 1986 but not released by the label, this album of great songs by Johnny Mercer is now available to the public!

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QUOTES/REVIEWS

CD TRACK LISTING & MP3 SAMPLES	LENGTH

			1.		Blues In The Night   (H. Arlen / J. Mercer)	4:40

			2.		I Remember You   (V. Schertzinger / J. Mercer)	2:50

			3.		Dream   (J. Mercer / J. Mercer)	4:32

			4.		Early Autumn / Autumn Leaves   (R. Burns & W. Herman / J. Mercer || J. Kosma / J. Mercer)	6:25

			5.		Laura   (D. Raskin / J. Mercer)	4:50

			6.		That Old Black Magic   (H. Arlen / J. Mercer)	2:51

			7.		Come Rain or Come Shine   (H. Arlen / J. Mercer)	4:21

			8.		Moon River / The Days Of Wine & Roses / Charade   (H. Mancini / J. Mercer)	9:35

			9.		I Thought About You   (J. Van Heusen / J. Mercer)	4:55

			10.		Dearly Beloved   (J. Kern / J. Mercer)	3:28

			11.		Namely You   (G. de Paul / J. Mercer)	3:11

			12.		I'm Old Fashioned   (J. Kern / J. Mercer)	3:23

			13.		Midnight Sun   (S. Burke & Lionel Hampton / J. Mercer)	4:14

			14.		This Time The Dream's On Me   (H. Arlen / J. Mercer)	3:30

			15.		Here's To My Lady / Emily   (R. Bloom / J. Mercer || J. Mandel / J. Mercer)	5:14

			16.		Out Of This World   (H. Arlen / J. Mercer)	3:17

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LINER NOTES

I Remember You, Johnny Mercer! notes by Ken Borgers Cast your memory back to 1986. Ronald Reagan was president, gas was a buck something, and a young singer named Dewey Erney was working around Southern California, usually accompanied by a small group, which almost always included guitarist Ron Escheté. Dewey was not unknown, especially to LA-area jazz fans; he had released several albums and performed regularly at clubs and festivals. But, together with Escheté, pianist Tom Ranier, bassist Luther Hughes, and drummer John Perett, he was working on a recording that seemed destined to finally bring his music to a wider audience; a tribute to Johnny Mercer. Featuring arrangements by Ron Escheté, Tom Ranier, with Tom playing piano, keyboards and all the reed parts, it was an ambitious undertaking that had the feel of a much larger group on several tracks. I Remember You, Johnny Mercer should have been the breakout recording for Dewey and a major milestone for the rest of the group as well. Only problem is, it was never released. For reasons too involved to go into, mostly having to do with the economics of the music industry, the nearly completed recording sat on the shelf for more than 20 years. Finally, however, it is here, and it sounds as splendid to me now as it did all those years ago. The opening "Blues In The Night' showcases Tom Ranier's formidable talents as an arranger and multi-instrumentalist. It's the first and only recording of him playing alto, soprano, and tenor sax; clarinet; and all the keyboards. Ron Escheté provides some appropriately bluesy guitar, and Dewey puts his stamp on the cautionary tale, adding a personal touch to that lonesome whistle blowin' 'cross the trestle. Ron Escheté provides the next two arrangements. Luther Hughes' bass propels the up-tempo "I Remember You," and Tom supports and solos on alto. "Dream" is straight out of Jobim, with Tom on flute and the solo spotlight on Luther. It is Dewey's idea to combine "Early Autumn" and "Autumn Leaves." Tom plays piano and all the saxophone parts, and his arrangement of the first (John Perett calls it "the world's slowest bossa nova") parallels Woody Herman's original version. Tom and Ron's duet opens part two; there's a roaring piano solo before the wistful close, with Tom's keyboard at the end like leaves blowing down the sidewalk. Next are two more arrangements by Ron Escheté. David Raksin's "Laura' is possibly the most evocative movie theme ever written. Ron's lilting solo and John's delicate brushwork perfectly complement Dewey's gorgeous phrasing. Then the quartet puts the pots on to conjure up "That Old Black Magic." Ron and Tom exchange fours on Harold Arlen's composition, and Ron's chord change under Dewey's "round and round I go" near the end is classic Escheté, subtle and delicious. Another Arlen composition, "Come Rain or Come Shine," is usually taken as a medium-tempo swinger. Tom and Dewey's duet, deliberate and powerful, was done in one take. Tom is back on flute for "Moon River,' the first of the Mancini Medley trilogy. He and Ron have a lovely unison passage before Tom's brief solo; then he and Dewey glide smoothly into "Days of Wine and Roses.' Luther provides great support for Ron; in fact, they're really soloing together! The smoldering "Charade" has a rolling waltz feel and a driving piano solo; Dewey builds beautifully with exclamation points from Ron. Ron and Dewey introduce "I Thought About You." Then it's Luther and Dewey alone through the first chorus. The other two join in, with Tom offering up a passionate tenor solo and staying with Dewey through the last note. Ron's arrangement of Jerome Kern's "Dearly Beloved" opens with some declarative piano/guitar exchanges. Dewey is warm and hopeful before and after Ron's dancing solo. Gene de Paul's "Namely You" is another that is usually taken medium to up-tempo. Ron and Dewey slow it down, making it sweet and intimate; Ron's playing is a ten-finger orchestra. Tom, this time on clarinet, and Ron kick off "I'm Old Fashioned," another Escheté arrangement. Dewey is bright and cheerful; there's a jaunty clarinet solo and brief statements by Ron and John before Dewey returns. Tom's lush arrangement of Sonny Burke and Lionel Hampton's "Midnight Sun" features layered keyboards, quiet brushes from John, and glorious phrasing by Dewey, who also crafted the "I, you, we" tag at the end. Then it's back to Harold Arlen; Luther's arrangement of "This Time The Dream's On Me" features Tom's piano after Dew's opening. Ron swings a chorus, then Dewey comes back for a slick key change before the close. Rube Bloom's rarely-sung "Here's To My Lady" is a duet of Ron and Dewey that Ron arranged; Dewey's reading was inspired by Nat Cole's version. Johnny Mandel's "Emily," the second half of the medley, is a gentle waltz with a brief, soulful guitar solo. One more Arlen classic closes the set. Tom's arrangement of "Out of this World" begins majestically with Dewey and keyboards, then opens up to a driving tempo with exchanges between Tom and Ron and the sparkling keyboard finish. It's not the first time it's happened that a great album languished undeveloped for years, of course. Benny Goodman's Live at Carnegie Hall sat in a drawer for something like 12 years before it saw the light of day. And, Artie Shaw's last Gramercy 5 recordings were likewise ignored for about 30 years before they were released. I hope this set by timeless composers and arguably the greatest lyricist who ever lived, with fresh arrangements and stellar performances, will finally receive the long-overdue attention and credit it deserves. --Ken Borgers is the former Program Director of KLON-FM Jazz Radio, Long Beach,CA; owner of internet radio www.Jazzknob.org and program director of the Los Angeles Jazz Institute. NOTES FROM THE BAND: Ron Escheté... I remember that this was a really special project and I believe our work was inspired. I'm pleased with the arrangements which hold up beautifully even now. As always, Dewey was a treat (instead of a treatment) to work with. We've always gotten along so well. At the time this "Mercer" project was being recorded, the Ron Escheté Trio consisted of Luther Hughes, bass, John Perett, drums and myself. It was an added bonus to work with the great Tom Ranier on this project. We had a lot of fun during these sessions and I believe the performances of all five of us are very, very good. Luther Hughes... Dewey Erney does exactly what a singer is supposed to do--he tells you a story, delivers a message straight to your heart. Tell the story. Sounds like a simple thing to do, but very few can do it. Dewey can! The icing on the cake is that he swings, has a great voice, is fun to work with, and he's a wonderful guy! On this "Mercer" CD he presents a marvelous balance of differing moods and tempos. Each track is a gem. The arrangements by either pianist Tom Ranier or guitarist Ron Escheté are sensational. Add the superlative musicianship of drummer John Perett and it's my idea of a "Dream Team." Dewey's been one of my favorites for many years, and if you're not already familiar with him, he's about to become one of yours, too. John Perett... WOW, what a super treat to hear this music again! When Dewey Erney first called to tell me that he was attempting to spring the long-time silent, but not forgotten, I Remember You, Johnny Mercer album from it's taped prison, in the darkest depths of an unknown label's music dungeon, on some long lost proverbial "shelf," I felt a gamut of emotions that ran from A to B. I asked myself, "could it be?" "Is it... is it... possible?" While in my reverie, and without waiting for my response to me, Dewey answered for me. "YES!" he said, "it is!" And, so it is! And, so it was! And WOW, what a wonderful surprise, and what a trip to once again be soothed and jostled by this dreamy noise! Ronnie, you always have and always will swing like mad! Tom, your talent is scary awesome! Luther, your fat sound and burning time is unequaled, and Dewey your impeccable choice of material, the compelling instance in your voice and your obvious pure love of the music is evidence of a remarkable musical integrity. And, I'm not just kissing up, either. Dew, Ronnie, Tom and Lulu, thanks for letting me hang out with you guys. I love you all. Tom Ranier... If a musician is lucky, he or she can make their living at what is their passion and hobby--making music. If they are especially fortunate and blessed, they might get to be involved in a project or two--or hopefully more--that are special. Those are the projects and the music they never forget, out of all the music they make over a lifetime. That is how I feel about being so lucky to have been involved in the making of this CD, I Remember You, Johnny Mercer. I feel it is a special collection of music treated in a unique and loving way. Dewey Erney has all the ingredients of a truly great jazz singer--impeccable time, unerring pitch and an original, informed conception, no matter what the style of material he sings. He is simply one of the best. The arrangements were all conceived with an intent of originality--not to take away from the uniqueness of each song, but to enhance and illuminate, sometimes in unexpected ways with different rhythmic treatments, each compositions meaning. Each musician contributed to that end with arrangements and improvisation that informs every song with their own identity. I feel lucky to have been involved in such a special project. I hope the results are as memorable for the listener as they are for me.

QUOTES / REVIEWS

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