Ernestine Anderson With The Clayton-Hamilton Orchestra - Boogie Down

Styles: Jazz, Vocal, Big Band
Year: 1989
File: MP3@320K/s
Time: 44:47
Size: 102,9 MB
Art: Front

(4:09)  1. Boogie Down
(6:39)  2. That Sunday That Summer
(4:40)  3. Love Walked In
(4:32)  4. Only Trust Your Heart
(2:16)  5. Day By Day
(4:45)  6. Nothing Ever Changes My Love For You
(3:24)  7. Wait Till You See Him
(6:17)  8. One Mint Julip
(8:01)  9. Le Blues

A solid but unspectacular effort, this CD matches singer Ernestine Anderson with the Clayton-Hamilton Jazz Orchestra. The big band is mostly heard in the background (except on the instrumental "Le Blues"), with the spotlight otherwise totally on the vocalist. Anderson sounds fine, but the material (which ranges from Al Jarreau's "Boogie Down" to "Love Walked In" and "One Mint Julep") offers few surprises, and she is not really smoothly integrated into the big band. However, the music still has its enjoyable moments.By Scott Yanow http://www.allmusic.com/album/boogie-down-mw0000204454

Personnel: Ernestine Anderson (vocals); Jim Hershman (guitar); Jeff Clayton (flute, oboe, alto saxophone); Bill Green (clarinet, alto saxophone); Herman Riley, Rickey Woodard (clarinet, tenor saxophone); Jack Nimitz (bass clarinet, baritone saxophone); Clay Jenkins, Oscar Brashear, Ray Brown , Snooky Young (trumpet, flugelhorn); George Bohannon, Thurman Green, Ira Nepus (trombone); Maurice Spears (bass trombone); Larry Fuller (piano); Jeff Hamilton (drums).

Boogie Down

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Ernestine Anderson - A Song for You

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 45:02
Size: 103,3 MB
Art: Front

(3:52) 1. This Can't Be Love
(5:51) 2. A Song for You
(4:34) 3. Make Someone Happy
(7:09) 4. Skylark
(3:26) 5. A Lovely Way to Spend an Evening
(6:10) 6. Candy
(6:41) 7. Day by Day
(7:15) 8. For All We Know

There's no doubt that American Idol, that immensely popular TV vocal competition now in its eighth season as of this writing, has redefined the public's idea of what constitutes "great" singing. In many quarters, the old criteria of good pitch and time, pleasing tone and honest feeling are no longer sufficient, for why hold onto one long note when you can cram three octaves into every bar? Far too often, the meaning of a song is reduced to its melisma, as a singer's athletic ability to embellish a tone seems to trump any lyric attached to it.

So far the jazz world has been relatively immune from this virus, but the growing ease of technology is enabling every aspiring singer to make a CD just pick some artwork, hire a publicist, and poof: you're in the game. This has resulted in a great uncensored flood of music, much of which is best appreciated by the parents, spouses, and friends of the singer.

But into this noisy climate comes a reminder of what true class and swing are all about: A Song for You, from veteran vocalist Ernestine Anderson. Here, backed by a fine and un-fussy quartet, she proves that her six-decade career could not diminish her rich, flexible voice, or her ability to mine the emotional truth in every song; if anything, both are deeper today. Anderson is joined in her explorations by the legendary tenor player Houston Person, whose bluesy obligatos are so empathic that they're practically verbal. During his thirty-year partnership with the late, also-wonderful Etta Jones, Person perfected the art of the voice/horn dialogue: consistently enhancing a singer's meaning without ever getting in her way. His comments are by turns supportive, witty or ironic, and his solos remain unmatched for their expressiveness and soul.

Anderson makes her musical intentions clear from the buoyant opener, "This Can't Be Love": she's going to use her singular phrasing and time to freshen every overplayed standard in the set, including the enthusiastic "Make Someone Happy," the R&B-inflected "Lovely Way to Spend an Evening," and the celebratory "Day by Day.". The CD's four ballads include a surprisingly slow and sexy "Candy," as well as the relatively-recent title tune, where Anderson makes the words so personal that it sounds like she just made them up. A word about "Skylark," that timeless beauty by Hoagy Carmichael: the equally great Johnny Mercer said it took him a whole year to get those lyrics right, and Anderson honors them with a kind of whispering wonder that suits them very well.All told, A Song for You should be required listening for every singer, since Anderson provides such a rare and invaluable lesson: how to touch the listeners' hearts without having to fill up their ears.By Dr. Judith Schlesinger https://www.allaboutjazz.com/a-song-for-you-ernestine-anderson-highnote-records-review-by-dr-judith-schlesinger

Personnel: Ernestine Anderson: vocals; Houston Person: tenor saxophone; Lafayette Harris, Jr.: piano; Chip Jackson: bass; Willie Jones III: drums.

A Song for You

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Gene Harris And The Philip Morris Superband - Live At Town Hall, N.Y.C.

Styles: Piano Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 65:39
Size: 151,8 MB
Art: Front

(4:41)  1. The Surrey With The Fringe On Top
(4:42)  2. Creme De Menthe
(4:25)  3. When It's Sleepy Time Down South
(5:31)  4. Love Is Here To Stay
(6:39)  5. I'm Just A Lucky So And So
(6:41)  6. Serious Grease
(4:14)  7. Like A Lover
(5:05)  8. Old Man River
(5:57)  9. Do You Know What It Means To Miss New Orleans
(6:26) 10. Porgy And Bess Medley: Strawberry Woman / I Loves You Porgy / It Ain't Necessarily So
(3:18) 11. You're My Everything
(3:48) 12. There Is No Greater Love
(4:06) 13. Things Ain't What They Used To Be

This CD documents one of the first concerts by Gene Harris' star-studded big band, an orchestra heard at the beginning of an 80-day world tour. Unlike his earlier big band Basie tribute album, Harris is not the only musician to get significant solo space on this set although, due to the overflowing lineup, not enough is heard from everyone. The straightforward arrangements (by John Clayton, Frank Wess, Torrie Zito, Bob Pronk and Lex Jasper) balance swingers with ballads. Among the more memorable tracks are Harry "Sweets" Edison's feature (both muted and open) on "Sleepy Time Down South," a pair of fine vocals apiece by Ernie Andrews and Ernestine Anderson, the roaring "Old Man River" and Harris' interpretation of Erroll Garner's ballad "Creme de Menthe." Toss in short solos from the likes of Ralph Moore, James Morrison (on trombone), Frank Wess, Michael Mossman and baritonist Gary Smulyan and the result is a satisfying, swinging and fairly fresh big band date.~ Scott Yanow https://www.allmusic.com/album/live-at-town-hall-nyc-mw0000202851

Personnel:  Alto Saxophone, Flute – Frank Wess, Jerry Dodgion;  Baritone Saxophone – Gary Smulyan;  Bass – Ray Brown;  Bass Trombone – Paul Faulise;  Drums – Jeff Hamilton;  Guitar – Herb Ellis;  Piano – Gene Harris;  Tenor Saxophone – Ralph Moore ;  Tenor Saxophone, Flute, Clarinet – James Moody; Trombone – Eddie Bert, James Morrison, Urbie Green;  Trumpet – Harry "Sweets" Edison, Joe Mosello, Johnny Coles, Michael Philip Mossman;  Vocals – Ernestine Anderson, Ernie Andrews .

Live At Town Hall, N.Y.C.

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Ernestine Anderson - Miss Ernestine Anderson

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 39:03
Size: 254,0 MB
Art: Front

(2:12) 1. Let's Get Away From It All
(3:02) 2. The End Of A Love Affair
(2:56) 3. So Nice
(4:17) 4. Funny How Time Slips Away
(2:40) 5. Talk To Me Baby
(4:12) 6. Tears Have To Fall
(2:21) 7. Big Spender
(4:13) 8. What Did I Have That I Don't Have
(2:33) 9. On A Clear Day You Can See Forever
(4:12) 10. I Fall In Love Too Easily
(3:14) 11. Feelin' Good
(3:04) 12. Make It Another Old-Fashioned Please

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on traditional jazz radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires (and thus didn't disturb the dispositions of those who use the radio as background) but always gave listeners an honest musical account. Anderson's career actually got rolling in the embryonic R&B field at first; as a teenager, she sang with Russell Jacquet's band in 1943, and she moved on to the Johnny Otis band from 1947 to 1949, making her first recording with Shifty Henry's orchestra in 1947 for the Black & White label. In the '50s, however, she converted over to the jazz side, working with Lionel Hampton in 1952-1953 and recording with a band featuring Jacquet, Milt Jackson, and Quincy Jones in 1953, and with Gigi Gryce in 1955. Upon hearing the latter record, Rolf Ericson booked Anderson on a three-month Scandinavian tour; while in Sweden, she made a recording called Hot Cargo that, ironically, established her reputation in America. Once back in the U.S., she signed with Mercury and made a number of albums for that label until the early '60s.

She moved to England in 1965 and remained largely invisible on the American radar until 1975, when Ray Brown heard her sing at the Turnwater Festival in Canada. Brown became her manager, and got her to appear at the 1976 Concord Jazz Festival, which led to a Concord contract that immediately bore fruit with the albums Live from Concord to London and Hello Like Before. These and other comeback albums made her a top-flight jazz attraction in the U.S. again this time for the long haul and in the '80s, she was recording with the Hank Jones Trio, George Shearing, Benny Carter, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, and her own quartet. By 1992, she had attracted major-label attention once again, signing with Quincy Jones' Qwest outfit. For Koch, Anderson issued Isn't It Romantic in 1998. The live album I Love Being Here with You appeared in 2002, while 2003’s Love Makes the Changes found her signed to Highnote. The label released her album A Song for You in 2009. Anderson remained with the label for 2011's Nightlife, a live album that featured the singer in a number of small-group settings, with a guest appearance by labelmate Houston Person. Anderson passed away from natural causes on March 10, 2016 at the age of 87. ~ Richard S. Ginell https://www.allmusic.com/artist/ernestine-anderson-mn0000200777/biography

Thank you Flyingfinger!

Ernestine Anderson - Hot Cargo!

Bitrate: MP3@320K/s
Time: 39:16
Size: 89.9 MB
Styles: Jazz vocals
Year:.1958/2008
Art: Front

[3:40] 1. Mad About The Boy
[3:29] 2. Did I Remember
[3:32] 3. Day Dream
[3:42] 4. Experiment
[2:37] 5. That Old Feeling
[3:02] 6. The Song Is Ended
[2:23] 7. Love For Sale
[3:43] 8. Autumn In New York
[2:51] 9. My Man
[3:24] 10. Ill Wind
[3:33] 11. Little Girl Blue
[3:14] 12. Wrap Your Troubles In Dreams

Rolf Ericson (tp), Cecil Payne (bs), Duke Jordan (p), John Simmons (b), Art Taylor (d), and the Harry Arnold Orchestra, featuring Benny Bailey (tp), Ake Persson (tb), Arne Domnerus, Bjarne Nerem (saxes), Thore Swanerud (p), Georg Riedel (b).

2008 collection from this Jazz/Soul vocalist containing studio tracks she recorded while in Sweden in 1956. Ernestine Anderson's fascinating voice is quite evident on this album that presents 'Love for Sale', 'lll Wind', 'My Man' and other evergreens in a torchy repertoire never before treated so knowingly. Full and expressive, her voice is an instrument that creates truly inspirational music.

Hot Cargo! mc
Hot Cargo! zippy

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Gigi Gryce - Nica's Tempo

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 43:09
Size: 99,2 MB
Art: Front

(4:07)  1. Speculation
(4:26)  2. In a Meditating Mood
(2:46)  3. Social Call
(3:42)  4. Smoke Signal
(3:29)  5. (You'll Always Be) the One I Love
(3:03)  6. Kerry Dance
(5:03)  7. Shuffle Boil
(4:47)  8. Brakes Sake
(5:30)  9. Gallop's Gallop
(6:11) 10. Nica's Tempo

Oh...if these sessions could have only been issued in separate long forms with the bands that are included. Nica's Tempo comprises six tracks with Gigi Gryce's groundbreaking big band, and another four ostensibly as a member of the Thelonious Monk quartet, all from 1955. Each band showcases the estimable compositional and arranging genius of Gryce, as well as his unique sound on the alto saxophone. In this CD format, the music serves a purpose in displaying Gryce's many talents, but ultimately leaves the listener wanting more. What the orchestra tracks offer in terms of an advanced concept paired with extraordinary musicianship is indisputably brilliant. The combination of Gryce with Monk is unparalleled in another way, the brief but fruitful joining of jazz masters that helped both of them grow, while attaining a symbiosis that Monk only reached briefly with Coleman Hawkins, Sonny Rollins, John Coltrane, and later in extensia with Charlie Rouse. Gryce is perfectly situated in his element, able to not only exploit the individualism of his bandmates, but play his slightly tart alto sax in a manner that very few have ever imagined. His shining charts emphasize lower octave tones by baritone saxes, trombones, French horns, tuba, the lone trumpet of Art Farmer, and no extra woodwinds. This larger band, averaging ten pieces, is influenced by Duke Ellington during the fully flowered ballad "In a Meditating Mood," or traditional Irish music on the short and sweet, perfectly layered, bluesy swinger "Kerry Dance." Dizzy Gillespie's complex bop visage is present for the nifty, sub-toned, dynamically controlled in mezzo piano, hard surfaced and simmering "Smoke Signal," with clever meter switchings from 4/4, 3/4, or 2/4, while Bill Barber's tuba lurks underneath. 

The opener "Speculation" reflects its title, with the composer Horace Silver's piano solo intro nicely drawn out, merging into warm simple horn charts with off-minor flourishes a great jazz composition especially engaging considering this is an emerging Silver at age 27. Ernestine Anderson's Sarah Vaughan styled dusky voice is featured in slight echoplex production on the all-time classic "Social Call" about a left behind lover still hoping for a reconnect, while her confessional balladic rendition of (You'll Always Be) "The One I Love" is as passionate as any romantic love song ever. The Monk quartet tracks are as precious as can be, with the dynamite rhythm section of Percy Heath and Art Blakey really on top of it. The pianist is happy to hand the spotlight to Gryce on selections made more famous later on by Herbie Nichols or the Steve Lacy and Roswell Rudd bands. He's comfortably animated during "Shuffle Boil" cutting loose with flurries of notes, using staccato and staggered phrases for "Brake's Sake," and traverses the treacherous, slippery melody of "Gallop's Gallop" as if it had no degree of difficulty. Gryce's Nica's Tempo concludes in off-minor and obtuse angles as Monk liked it, with Heath and Blakey swinging expertly as only they could. These performances are nothing short of flawless, and though one might wish for additional tracks or outtakes, this album remains highly recommended with no reservation, and one for the ages. 

~ Michaael G.Nastos http://www.allmusic.com/album/nicas-tempo-mw0000092265

Personnel: Gigi Gryce (alto saxophone); Ernestine Anderson (vocals); Danny Bank, Cecil Payne (baritone saxophone); Art Farmer (trumpet); Gunther Schuller, Julius Watkins (French horn); Eddie Bert, Jimmy Cleveland (trombone); Bill Barber (tuba); Horace Silver, Thelonious Monk (piano); Oscar Pettiford, Percy Heath (bass); Kenny Clarke, Art Blakey (drums).

Nica's Tempo

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Ernestine Anderson - Now and Then

Styles: Vocal Jazz
Year: 1993
File: MP3@224K/s
Time: 54:17
Size: 87,4 MB
Art: Front

(4:37)  1. Jazz Street
(5:20)  2. A Night In Tunisia
(5:48)  3. One Child
(5:09)  4. This Could Be Dangerous
(2:21)  5. This Can't Be Love
(5:12)  6. Wrong Number
(4:28)  7. Ain't No Easy Way
(4:51)  8. My Funny Valentine
(4:59)  9. Monte Carlo Nights
(6:41) 10. When It All Comes Down
(4:45) 11. I'll Be Seeing You

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on traditional jazz radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires (and thus didn't disturb the dispositions of those who use the radio as background) but always gave listeners an honest musical account. Anderson's career actually got rolling in the embryonic R&B field at first; as a teenager, she sang with Russell Jacquet's band in 1943, and she moved on to the Johnny Otis band from 1947 to 1949, making her first recording with Shifty Henry's orchestra in 1947 for the Black & White label. In the '50s, however, she converted over to the jazz side, working with Lionel Hampton in 1952-1953 and recording with a band featuring Jacquet, Milt Jackson, and Quincy Jones in 1953, and with Gigi Gryce in 1955. Upon hearing the latter record, Rolf Ericson booked Anderson on a three-month Scandinavian tour; while in Sweden, she made a recording called Hot Cargo that, ironically, established her reputation in America. Once back in the U.S., she signed with Mercury and made a number of albums for that label until the early '60s.  She moved to England in 1965 and remained largely invisible on the American radar until 1975, when Ray Brown heard her sing at the Turnwater Festival in Canada. Brown became her manager, and got her to appear at the 1976 Concord Jazz Festival, which led to a Concord contract that immediately bore fruit with the albums Live from Concord to London and Hello Like Before. 

These and other comeback albums made her a top-flight jazz attraction in the U.S. again  this time for the long haul and in the '80s, she was recording with the Hank Jones Trio, George Shearing, Benny Carter, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, and her own quartet. By 1992, she had attracted major-label attention once again, signing with Quincy Jones' Qwest outfit. For Koch, Anderson issued Isn't It Romantic in 1998. The live album I Love Being Here with You appeared in 2002, while 2003’s Love Makes the Changes found her signed to Highnote. The label released her album A Song for You in 2009. Anderson remained with the label for 2011's Nightlife, a live album that featured the singer in a number of small-group settings, with a guest appearance by labelmate Houston Person. Anderson passed away from natural causes on March 10, 2016 at the age of 87. ~ Richard S.Ginell  http://www.allmusic.com/artist/ernestine-anderson-mn0000200777/biography

Personnel: Ernestine Anderson (vocals); Arnold McCuller (vocals); Phil Upchurch, Ron Eschete, Paul Viapiano (guitar); Jimmy Z. (harmonica); Ernie Watts (saxophone); Lanny Morgan (alto saxophone); Oscar Brashear (trumpet); Geoff Stradling (keyboards, programming); Joe Sample, Larry Fuller (keyboards); Jim Keltner, Leon "Ndugu" Chancler (drums); Paulinho Da Costa (percussion); Terry Brooks, Petsye Powell, Petsye Powell-Huyghue, Cile Borman, Willard Pugh, Garrett Morris, Freda Morris, Pattie Brooks, Terry Wood (background vocals).

Now and Then

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Ernestine Anderson - When The Sun Goes Down

Bitrate: MP3@320K/s
Time: 42:41
Size: 97.7 MB
Styles: Jazz/Blues vocals
Year: 1985/1992
Art: Front

[4:49] 1. Goin' To Chicago Blues
[4:45] 2. Someone Else Is Steppin' In
[7:21] 3. In The Evening When The Sun Goes Down
[4:59] 4. I Love Being Here With You
[6:04] 5. Down Home Blues
[6:21] 6. I'm Just A Lucky So And So
[3:18] 7. Alone On My Own
[5:00] 8. Mercy, Mercy, Mercy

On one of her best Concord recordings, Ernestine Anderson (who is joined by tenor man Red Holloway, pianist Gene Harris, bassist Ray Brown, and drummer Gerryck King) is quite soulful and bluesy throughout this strong program. She makes such tunes as "Someone Else Is Steppin' In," "In the Evening (When the Sun Goes Down)," and "I Love Being Here with You" sound as if they were written for her, while "Mercy, Mercy, Mercy" is heard in a very rare vocal version. Actually, all eight songs (which also include "Goin' to Chicago Blues" and "Down Home Blues") are well worth hearing. Recommended. ~Scott Yanow

When The Sun Goes Down

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Ernestine Anderson - Never Make Your Move Too Soon

Bitrate: MP3@320K/s
Time: 38:54
Size: 89.1 MB
Styles: Jazz-blues vocals
Year: 1981/2005
Art: Front

[3:27] 1. Never Make Your Move Too Soon
[4:44] 2. What A Diff'rence A Day Made
[4:37] 3. As Long As I Live
[7:13] 4. Old Folks
[5:26] 5. Just One More Chance
[3:31] 6. My Shining Hour
[4:18] 7. Why Did I Choose You
[5:34] 8. Poor Butterfly

Bass – Ray Brown; Drums – Frank Gant; Piano – Monty Alexander; Vocals – Ernestine Anderson.

The title cut of this near-classic album became a sort of theme song for Ernestine Anderson, but it is not the only high point. The singer sounds in top form on such fine material as "As Long As I Live," a touching "Old Folks," "My Shining Hour," and "Poor Butterfly." With fine assistance from pianist Monty Alexander, bassist Ray Brown, and drummer Frank Gant, Ernestine Anderson is heard throughout in prime form, sounding quite enthusiastic and powerful. Highly recommended. ~Scott Yanow

Never Make Your Move Too Soon

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Ernestine Anderson - I Love Being Here With You Disc 1 And Disc 2

Album: I Love Being Here With You (Disc 1)

Styles: Vocal Jazz
Year: 2002
File: MP3@224K/s
Time: 39:46
Size: 64,0 MB
Art: Front

(3:46)  1. I Love Being Here With You
(7:03)  2. All Blues
(5:30)  3. Down Home Blues
(4:26)  4. As long As I Live
(6:50)  5. Please Send Me Someone To Love
(3:30)  6. I Let A Song Go Out Of My My Heart
(4:00)  7. Spring is Here
(4:37)  8. Street Of Dreams

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Album: I Love Being Here With You (Disk 2)

Time: 55:25
Size: 89,1 MB

( 7:32)  1. Blues In The Closet (instr)
( 4:42)  2. I Let A Song Go Out Of My Heart
(10:21)  3. I Should Care
( 5:22)  4. There Is No Greater Love
( 7:14)  5. Skylark
( 4:57)  6. On My Own
(15:14)  7. Never Make Your Move Too Soon

This nicely packaged, but hard to follow (I'm still not completely sure who's playing what on which CD) two CD set compiles excerpts from four live performances by Ernestine Anderson, mostly as a guest. The album covers three live performances from 1987 and one from 1990, when the singer was doing some very good work. The CD 2 is a complete replication of the Live at the 1990 Jazz Festival album. Since as far as I know, this album is still available, why it is included here is a bit of a mystery to me. CD 1 is the far more engaging of the two. One of the compilations's highlights for me is Anderson's appearance with the Frank Capp/Nat Pierce Juggernaut Band from Live at the Alley Cat. This was the last of that high flying big band's albums due to the death of co-leader Nat Pierce. Anderson did four numbers on that album. The work on the "Street of Dreams" and "I Let a Song Go out of My Heart" is recommendation enough to run out and try and located that Frankie Capp/Nat Pierce CD. At one point during his career, pianist George Shearing seemed determined to record with just about every singer he could get his arms around. He cornered Anderson for two cuts on his 1987 release Dexterity. He and Shearing come together nicely on the cuts on which Anderson appears, "As Long As I Live" and "Please Send Me Someone to Love". The other album on this medley, again from 1987, and this time features the Concord All-Stars with such luminaries as Dave McKenna, Red Holloway and Dan Barrett occupying seats. There are three cuts from this album, with Anderson and McKenna working out on "I Love Being Here with You" the top item. This album will certainly appeal to Anderson's many fans as well as to those who just love a good singer behind a good band especially the Capp/Pierce outfit. ~ Dave Nathan https://www.allaboutjazz.com/i-love-being-here-with-you-ernestine-anderson-concord-music-group-review-by-dave-nathan.php

Personnel: Dan Barrett, Charlie Loper, Garnett Brown, Buster Cooper - Trombone;  Ed Bickert, Ken Pohlman - Guitar;  Scott Hamilton, Bob Cooper,  Frank Wess - Tenor Sax;  Red Holloway - Alto & Tenor Sax;  Dave McKenna, George Shearing, Gene Harris, Nat Pierce - Piano; Jimmie Smith, Frank Capp, Harold Jones - Drums; Warren Vache - Trumpet; Steve Wallace, Neil Swainson, Chuck Berghofer, Lynn Seaton - Bass; Snooky Young, Frank Szabo, Conte Candoli, Bill Berry; Dave Edwards, Joe Romano, Marshal Royal - Alto Sax; Bill Green - Baritone Sax

I Love Being Here With You (Disk 1) And (Disk 2)

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Ernestine Anderson - Big City

Styles: Jazz, Vocal

Year: 1983

File: MP3@224K/s

Time: 39:43

Size: 64,3 MB

Art: Front

(3:36)  1. All I Need Is You

(4:31)  2. Street Of Dreams

(4:07)  3. Spring Is Here

(3:33)  4. The 59th Street Bridge Song (Feelin' Groovy)

(4:28)  5. I'll Never Pass This Way Again

(4:40)  6. Big City

(4:44)  7. All Blues

(4:58)  8. Welcome To The Club

(5:03)  9. I Didn't Know What Time It Was

This well-rounded set features vocalist Ernestine Anderson on a few classics (including "Street of Dreams," "All Blues" and "I Didn't Know What Time It Was"), plus some newer material (including a surprisingly successful version of "The 59th Street Bridge Song"). She is accompanied by pianist Hank Jones, bassist Monty Budwig and drummer Jeff Hamilton, giving listeners a strong example of her singing. ~ Scott Yanow  http://www.allmusic.com/album/big-city-mw0000653934

Personnel: Ernestine Anderson (vocals); Hank Jones (piano); Jeff Hamilton (drums)

Big City    

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Ernestine Anderson - Live In New Orleans

Size: 127,0 MB
Time: 54:59
File: MP3 @ 320K/s
Released: 2016
Styles: Soul Blues, Jazzy Blues, Vocals
Art: Front

01. Autumn Leaves (11:08)
02. All I Need Is You (Live) ( 3:51)
03. All Blues (Live) ( 7:44)
04. I'm Walking (Live) ( 4:04)
05. What's New (Live) ( 5:34)
06. Sunny (Live) ( 6:04)
07. Please Send Me Someone To Love (Live) ( 4:06)
08. Thought About You (Live) ( 6:09)
09. Never Make Your Move Too Soon (Live) ( 6:16)

Scatting, talking along, singing, Ernestine Anderson wraps herself around a tune. Emerging in the ‘50’s with a hit album in 1956, she was hailed among the best, just behind Ella Fitzgerald and Sarah Vaughan. Recorded here in the ‘80’s, she’s in stride, in tune, her rich voice pulled along by the beat. Playing with her on this program, taped at Dukes Place atop the Monteleone Hotel in New Orleans French Quarter, are Terry Gibbs (vibes), Buddy DeFranco (Clarinet), Lou Levy (Piano), Bob Maize (bass) and Ray Mosca (drums). Her bluesed-up rendition of Fats Domino’s “I’m Walkin” is a real treat.

Live In New Orleans

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Ernestine Anderson - My Kinda Swing

Bitrate: MP3@320K/s

Time: 32:39

Size: 74.8 MB

Styles: R&B, Vocal jazz

Year: 1960/2002

Art: Front

[2:10] 1. My Kinda Love

[3:17] 2. Trouble Is A Man

[3:02] 3. See See Rider

[2:37] 4. Moonlight In Vermont

[2:20] 5. Land Of Dreams

[2:34] 6. Black Moonlight

[3:17] 7. All My Life

[2:33] 8. Mound Bayou

[3:25] 9. I'll Never Be The Same

[2:15] 10. It Don't Mean A Thing (If It Ain't Got That Swing)

[2:44] 11. Lazy Afternoon

[2:21] 12. They Didn't Believe Me

Ernestine Anderson was 32 years old at the time of this 1960 session, not long before her career inexplicably fell into the doldrums. This album finds her in great form, supported by a cast of musicians including Clark Terry, Hank Jones, Yusef Lateef, Ernie Royal, Frank Rehak, and Kenny Burrell, with terrific arrangements by Ernie Wilkins. She achieves the perfect balance in her interpretation of "Trouble Is a Man," a masterful ballad written by Alec Wilder, and she's clearly in her element in the hard-rocking blues "See See Rider." Terry's striking trumpet almost provides a contrasting vocal alongside Anderson during "All My Life," while her understated approach to a quick run through "It Don't Mean a Thing (If It Ain't Got That Swing)" showcases Jones and Burrell. Lateef's oboe adds to the exotic flavor of "Lazy Afternoon." ~Ken Dryden

My Kinda Swing

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