1. Show Me
2. All Blues
3. How Can I Sing A Love Song
4. You Were Always On My Mind
5. Only Trust Your Heart
6. Sister Moon
7. Don't Touch Me
8. Reach Out
9. Simply Love
10. The Thrill Is Gone
11. It Hurts To Be In Love

Ernestine Anderson – vocals
Paul Viapiano – guitar
Eugene Maslov, Geoff Stradling – keyboards
Del Atkins – bass
Bob Sheppard – saxophone, flute
Oscar Brashear – trumpet solos
Frank Szabo – trumpet
Andy Martin – trombone
Josie Aiello – backing vocals
Ndugu Chancler – drums
Eric McKain - percussion

Ernestine Anderson, jazz vocalist, is usually known for appearances in jazz clubs in her hometown of Seattle, Washington. This is a live concert recorded at B.B. King's Blues Club in Universal City, California in 1995.

The song "All Blues" made famous by so many jazz legends becomes the most edgy, touching, soulful vocal when Ernestine sings it. Ernestine's vocal on "Only Trust Your Heart" brilliantly reaches to the bottom of her soul. Nobody can match the magic that Ernestine brings to "Sister Moon". She gets inside this song and sings it with every bit of soul she has. "Reach Out" is a cooker! Ernestine gives this one her all. "Simply Love" is Ernestine's cool and very fine love ballad. You won't believe Ernestine's tribute to B.B. King with "The Thrill Is Gone"! She knows just how to sing this one to end all versions! The last song but far from the least song is "It Hurts To Be In Love". This is a hot finale!

This is a fun jazz/blues concert for all Ernestine Anderson fans. If you ever have the chance to see her live, don't miss the opportunity. But until then, this great concert will do quite nicely! --- Beverly Praiswater, amazn.com

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1. Mad About The Boy
2. Did I Remember
3. Day Dream
4. Experiment
5. That Old Feeling
6. The Song Is Ended
7. Love For Sale
8. Autumn In New York
9. My Man
10. Ill Wind
11. Little Girl Blue
12. Wrap Your Troubles In Dreams

Ernestine Anderson - vocals 
Rolf Ericson - trumpet
Cecil Payne - baritone saxophone
Duke Jordan - piano
John Simmons - bass
Art Taylor - drums
Harry Arnold & His Orchestra

In these 1956 sessions, Andersons early singing has lost none of its naturalness, musicality or appeal. Her accompaniments by Harry Arnolds big band and Duke Jordans trio sound equally fresh. I wrote earlier that this was one of the best vocal albums of the 1950s. I am revising that assessment. It is one of the best vocal recordings of the last half of the twentieth century. Swedens Metronome label originally released this perennially new collection as 'Its Time For Ernestine.' Mercury issued the LP in the US two years later and called it 'Hot Cargo,' despite the disapproval of its producer, Börje Ekberg, and Anderson. Whatever the title, it is still time for Ernestine. - Doug Ramsey, freshsoundrecords.com

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1 	Blues In The Closet	6:56
2 	I Let A Song Go Out Of My Heart	4:29
3 	I Should Care	10:15
4 	There Is No Greater Love	5:12
5 	Skylark	6:50
6 	On My Own	4:26
7 	Never Make Your Move Toon Soon	15:00

Alto Saxophone – Marshall Royal (tracks: 5)
Bass – Lynn Seaton
Drums – Harold Jones
Guitar – Ed Bickert
Piano – Gene Harris
Tenor Saxophone – Frank Wess (tracks: 3)
Vocals – Ernestine Anderson (tracks: 2-7)

Although there is no official leader on the CD, this is really an Ernestine Anderson date. Pianist Gene Harris and his quartet (with guitarist Ed Bickert, bassist Lynn Seaton and drummer Harold Jones) romp through Oscar Pettiford's "Blues in the Closet" and then the singer takes over for the final six numbers; Frank Wess guests on tenor during "I Should Care" and altoist Marshall Royal is heard from on "Skylark." Ernestine Anderson is in top form during her well-rounded set with highlights including the lengthy "I Should Care," a swinging "There Is No Greater Love," "On My Own" and a definitive 15-minute version of "Never Make Your Move Too Soon." ---Scott Yanow, AllMusic Review

One thing Concord Jazz cannot be accused of is failing to document Ernestine Anderson's live performances. When the veteran jazz singer was recording for Concord in the late '70s, '80s, and early '90s, the label put out several live albums that featured her extensively. Here's the thing: Not all of those albums were released under Anderson's own name -- she was employed as a featured vocalist for pianist George Shearing, the Frank Capp/Nat Pierce Juggernaut, and a band that was billed as the Concord All Stars. Anderson's live performances of 1987-1990 are the focus of this excellent two-CD set, which Concord assembled in 2002 -- and none of the recordings are from the singer's own albums. The all-star release Live at the 1990 Concord Jazz Festival (Third Set) is heard in its entirety. ---barnesandnoble.com

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1. Jazz Street
2. A Night In Tunisia
3. One Child
4. This Could Be Dangerous
5. This Can't Be Love
6. Wrong Number
7. Ain't No Easy Way
8. My Funny Valentine
9. Monte Carlo Nights
10. When It All Comes Down
11. I'll Be Seeing You

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).

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, allmusic.com

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