Ernest Bendriss

The title is descriptive of why Ernest deserves a royal title, as his punchy vocals are blues laden with a splash of soul. Also, the title serves as the central theme of the material which runs the gamut of emotions ranging from heartbreak ("Tell Me the Reason," "Better Days," and "Cryin' for My Baby"), doubt ("I'm Not the One"), preference to escape life's problems ("Black Bag Blues"), disgust ("I Resign"), jealousy ("In the Dark"), desire ("Sadie"), and remorse ("Forgive Me"). Ernest's musicians are proven blue(s) bloods, some of them being Paul Bryant (Robert Lucas), "Jimmy Rip" (Mick Jagger), and Lester Butler. Jagger's contribution, "Better Days," was originally slated for one of Jagger's solo albums, but then rightfully deeded to Ernest's pipes. Other well-chosen royal subjects come from songwriters/artists Junior Parker, Charlie Musselwhite, and Hound Dog Taylor…

Ernest Chausson’s death in 1899 in a bicycle accident robbed French music of a major talent. Almost his entire orchestral output fits on this extremely fine CD. Yan Pascal Tortelier’s performance of the richly romantic Symphony is the best since Munch’s Boston Symphony recording. Like Munch, Tortelier knows how to keep the music moving along–he’s only an insignificant two minutes slower than Munch for the whole work–without overindulging the more luscious moments, which in Chausson’s opulent setting really do take care of themselves. Even better, rather than some overplayed encore piece by another composer, the symphony is coupled with two very attractive, rarely heard tone poems and two charming orchestral excerpts from the composer’s incidental music to Shakespeare’s The Tempest. The orchestra plays with conviction, Chandos’ sonics are gorgeous, and if you don’t buy this disc, you’re missing out on some marvelous stuff.

Schelomo receives its mead of barbarous splendour at the hands of Nelsova and Abravanel. The recording is a shade too warm but Nelsova (who recorded far too little) who studied the piece with the composer demonstrates her familiarity and sympathy with the piece. This is essential as Schelomo is one of those works that can easily seem nondescript if the artists involved are unengaged. In that sense it is rather like the Bax cello concerto (still awaiting its ideal exponent on disc). This is Nelsova's second, recording of the work. The feverish grip of the music is strongly asserted.

Haydn’s star towers over the firmament of classical music – that of a creative genius whose boundless imagination continues to shine brightly in our own day. For their first recording, the Trio Ernest have brought together pieces that they have come across in the orbit of this composer so dear to them.

The title is descriptive of why Ernest deserves a royal title, as his punchy vocals are blues laden with a splash of soul. Also, the title serves as the central theme of the material which runs the gamut of emotions ranging from heartbreak ("Tell Me the Reason," "Better Days," and "Cryin' for My Baby"), doubt ("I'm Not the One"), preference to escape life's problems ("Black Bag Blues"), disgust ("I Resign"), jealousy ("In the Dark"), desire ("Sadie"), and remorse ("Forgive Me"). Ernest's musicians are proven blue(s) bloods, some of them being Paul Bryant (Robert Lucas), "Jimmy Rip" (Mick Jagger), and Lester Butler. Jagger's contribution, "Better Days," was originally slated for one of Jagger's solo albums, but then rightfully deeded to Ernest's pipes. Other well-chosen royal subjects come from songwriters/artists Junior Parker, Charlie Musselwhite, and Hound Dog Taylor…

Tragically, singer King "Ernest" Baker only got to hear the final mixes of this album, Blues Got Soul, before he was killed in an automobile accident a few days later. Ernest was a fiery vocalist in the soul/blues vain of Little Milton or Bobby Bland, incorporating a mixture of gospel and gritty funk inspiration. While Ernest had been performing off and on throughout his life, he decided after retiring from his job with the Los Angeles County Sheriff's Department to continue pursuing music. It's a shame that his career ended just as he was making promising steps forward. Highlights include the Ernest originals "Suffer and Stay," "Fallin' Down on My Face With the Blues," and the haunting Tom Waits-penned "House Where Nobody Lives."

Tragically, singer King "Ernest" Baker only got to hear the final mixes of this album, Blues Got Soul, before he was killed in an automobile accident a few days later. Ernest was a fiery vocalist in the soul/blues vain of Little Milton or Bobby Bland, incorporating a mixture of gospel and gritty funk inspiration. While Ernest had been performing off and on throughout his life, he decided after retiring from his job with the Los Angeles County Sheriff's Department to continue pursuing music. It's a shame that his career ended just as he was making promising steps forward. Highlights include the Ernest originals "Suffer and Stay," "Fallin' Down on My Face With the Blues," and the haunting Tom Waits-penned "House Where Nobody Lives."