People Will Talk...

...the night doesn't fall on a city, it permeates it.

—Legendary jazz vocalist Laurel Watson
(Basie, Ellington, Sonny Stitt)

E. J. Decker

Scott Yanow
All Music Guide

"A talented, if fairly obscure baritone singer, E. J. Decker has a strong voice touched by that of Billy Eckstine, although he has his own sound. While Decker mostly sings the lyrics and themes of the dozen songs fairly straight (although with swing), his quintet adds a strong jazz content to the music. Trumpeter Randy Sandke and tenor-saxophonist Bob Kindred are both strong soloists and the rhythm section, led by pianist Les Kurtz, keeps the music moving. Highlights include 'While The City Sleeps,' 'Tenderly,' 'Since I Met You Baby,' and 'You Don't Know Me.' "

Scott Gotschall
Jazz Improv Magazine
Vol. 4, Number 2
August 2003

"There may be a difference between singing 'jazz' and singing 'jazzy.' E. J. Decker dramatically exhibits this difference on his jazzy release, While the City Sleeps.... Among the highpoints on this album are his rich, baritone voice, a similarly rich knowledge of the jazz vocabulary, and the consistently solid performances of the instrumentalists.

One is first struck by Mr. Decker's rich baritone voice. It reminds the listener of Johnny Hartman, Billy Eckstine, and so many great crooners of the past. His tone is resonant, his articulation immaculate. Mr. Decker's vocal inflection shows a clear understanding of the lyrics for each of his selections.

Similarly, he evidences a rich and far-reaching vocabulary of jazz and jazz influences. It is obvious, from the tune selection upward, that Mr. Decker is aware of the roots of this idiom. From 'Tenderly' to 'Brother, Can You Spare a Dime?' to 'Sea Cruise,' he offers a thorough presentation of his knowledge of the phraseology of the genre.

For instance, on 'It's Just a Matter of Time,' a down-home blues selection, he uses all the slides, smears, growls and inflection of a true blues-man. From this extreme, to the other; on 'Sea Cruise' (not generally thought of as a jazz song) he is equally familiar with appropriate devices, inflections and style. Mr. Decker does a wonderful job in synthesizing the jazz lexicon into his own luxurious style.

His band also shows a sizeable knowledge of styles and genres; particularly, Les Kurtz on piano, and Bob Kindred on tenor saxophone. They brilliantly display their utter understanding within each selection on the album. Their choices are entirely appropriate and serve only to support their leader, while at the same time demonstrating an exhaustive awareness of various musical techniques.

Unfortunately, not everything on this album is positive. His use of cliches seems at times to be a parody of the crooners of the fifties. His use of slides, shakes, vibrato, and tremolos is reminiscent of what could be an Elvis Presley impression. Mr. Decker is able to use such devices effectively; unfortunately he simply has not yet learned when not to use them.

For instance, on 'Tenderly' he literally scoops nearly every melody note. Although appropriate for beginnings of phrases, it becomes a caricature of the song when utilized as often as Mr. Decker uses them here. Were they to be employed more sparsely, an entirely effective album would be possible.

I see great promise for Mr. Decker. He possesses all the traits of someone who could be a successful jazz vocalist. His voice is easy to listen to, and could become a favorite for anyone looking for a gratifying experience within the male vocal arena. Also, his knowledge of jazz is quite clearly expansive. He simply needs to learn to reign in his prowess and display his knowledge with slightly more taste.

Frank Rubolino
Cadence Magazine
Vol. 27, No. 11
November 2001

"I have had the perception of late that the current Jazz vocal field was dominated by women, but males appear to be holding their own in the genre. ...

[E.J.] Decker sings in a deep baritone voice while being accompanied by an up-tempo quintet on While the City Sleeps... (Candela EJ9265). His presentation is lush, and his songs have a tinge of brash elegance. Decker has a way of presenting his tunes using dynamic flair, and he commands attention through his direct and forceful delivery. He seems to prefer singing lesser-exposed standards, and he displays a bold stroke of authority on each of them. He also composed one of the program's ballads where his low voice effectively stretches and holds the notes. Decker keeps the melody line always in sight, but he does have a knack for accentuating phrases and word endings to give uniqueness to his performance. He occasionally dips into emulation of the Elvis Presley deep throated, rolled-word approach, but he is able to carry it off without seeming overly imitative.

"The band, consisting of trumpeter [Randy] Sandke and tenor player [Bob] Kindred in front of the [Les] Kurtz, [Dave] Hofstra, [Tom] Melito piano trio, plays with incisive strokes in keeping with the pace set by Decker and his strong voice. They are able to get brassy and overt without diminishing Decker's role. The band stretches out with choruses of swinging music during the vocal breaks, filling in all the spaces with full-bodied blowing. Even with all its strength, the band does not steal any of the thunder of Decker. When he reenters, he is in full charge, giving a fruity flavor to each tune. Decker sings many romantic tunes, but he does not come across as a sentimental romantic. There is just too much punch in his style to make that association. Nevertheless, he is a solid entertainer."