Ernest Codman

24 tracks - 1959 double album retrospective, showcasing stereo remakes of some of Tubb's classic material.

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.

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."

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…

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…

Cet album Cascavelle reprend ce qui semble être l'intégralité d'un concert Mozart de Clara Haskil, Otto Klemperer et l'Orchestre du Gürzenich de Cologne en 1956, complété par le Concerto de Schumann de quelques semaines postérieur avec Ernest Ansermet et son orchestre de la Suisse Romande. Comme date d'enregistrement la notice indique le 09 septembre 1956 pour Mozart et le 10 octobre 1956 pour Schumann alors que trône en fronton de la couverture de l'album un superbe « Live recording – Montreux April 9th 1956 ». Pourtant c'est bien cette dernière date d'avril qui semble erronée, le concert Mozart ayant bel et bien été donné dans le cadre du Septembre musical de Montreux.

Cet album Cascavelle reprend ce qui semble être l'intégralité d'un concert Mozart de Clara Haskil, Otto Klemperer et l'Orchestre du Gürzenich de Cologne en 1956, complété par le Concerto de Schumann de quelques semaines postérieur avec Ernest Ansermet et son orchestre de la Suisse Romande. Comme date d'enregistrement la notice indique le 09 septembre 1956 pour Mozart et le 10 octobre 1956 pour Schumann alors que trône en fronton de la couverture de l'album un superbe « Live recording – Montreux April 9th 1956 ». Pourtant c'est bien cette dernière date d'avril qui semble erronée, le concert Mozart ayant bel et bien été donné dans le cadre du Septembre musical de Montreux.