Isn't It Romantic Koch International, 1998 Guaranteed to put the romance back in your life.

    "Anderson is in her element with this material...Though she's a flexible artist...Anderson reigns supreme when she sings the great standards."
     Diane Gordan, JazzTimes, November, 1998

    Accompanied by the Netherlands Metropole Orchestra, Ernestine Anderson sings 10 classic American ballads. Conducted by Jerry van Rooyen, the 62-piece orchestra generates sweeping power and soothing intimacy in perfect collaboration with the sultry-voiced singer. Whether it's "My One and Only Love," "I Could Write a Book," "My Foolish Heart," or the title song, Anderson wraps her lush voice around each song with a passionate intensity that is intoxicating.

Blues, Dues & Love News Qwest (9 45900-2) 1997 Grammy nominee

Recorded live at B.B.King's Blues Club in Universal City
   What consistently impresses me about Ernestine Anderson is the high sense of enjoyment regarding her role in singing. She digs it! This CD is a case in point beginning with the opener "Show Me" (co-written by Anderson and producer Stix Hooper) segued into the Miles Davis "All Blues"classic. This is powerful blues bolstered by a driving band. Changing the pace, she sings ballads drawn from disparate sources -- Sting's "Sister Moon," Teddy Edwards' "Don't  Touch Me,"Benny Carter's "Only Trust Your Heart" and from one of Anderson's favorite TV soaps, "Simply Love."
-- Herb Wong, I.A.J.E., January 1997

Now and Then Qwest (9 45249-2) 1994 Grammy nominee

       "Now and Then" covers an enormous amount of musical territory, ranging from the rollicking "Jazz Street," a bluesy tune that's as funky as Texas barbecue to the compelling classicism of such standards as "My Funny Valentine," delicately rendered with just guitar and voice. There's a provocative contemporary ballad, "One Child," that's sure to be a radio favorite and a beautifully sung blues,"No Easy Way"... and for an extra measure of diversity, Ernestine took this opportunity to make her long-delayed debut as a song-writer, contributing two originals, "Ain't No Way" and "Wrong Number," the first song she's ever written.
-- Medium, June 1993

Great Moments With Ernestine Anderson Concord (CCD 4582) 1993 Reissued in the Heritage Series Her Best!

    I defy anyone to name a finer or more versatile female singer than the veteran, Ernestine Anderson. Fortunately, for those of us with taste, Concord has released this anthology of some of her finest recorded efforts with a host of big name and heavily talented sidemen. Anderson is equally adept at interpreting the most delicate of ballads and belting or insinuating the funkiest of the blues. She certainly deserves much more acclaim for her grand scale talents. The material contained on this one speaks for itself: "Tain't Nobody's Bizness If I Do," "Skylark," "Body and Soul," "In a Mellow Tone," "Time After Time"and much more. 
-- Dick Bogle, The Scanner, January 1994

Boogie Down With the Clayton-Hamilton Orchestra Concord (CD-4407) 1991

    Ernestine Anderson, who has mostly been recording with small groups ever since making a comeback in 1976, is in wonderful form for this date with the Clayton Hamilton Jazz Orchestra. Co-led by altoist Jeff Clayton, it is the latter's arrangements that give this 18-piece big band its personality. Influenced by Thad Jones, Clayton's arranging style uses light rhythms, dense harmonies and surprising twists to keep the music consistently colorful; his treatment of "Love Walked In" is completely unpredictable yet quite logical and swinging. Anderson sounds perfectly happy with the busy charts and interprets the diverse material with warmth and swing.
-- Scott Yanow, Cadence, February 1991

A Perfect Match With George Shearing Concord CCD-4357 1988

    Miles Davis once said that he's love to have a little boy "who play piano like Ahmad Jamal." If Miles had a daughter, she'd sing like Ernestine Anderson. Like Miles, Ernestine heads straight for the music's core of harmony and melody, making Tin Pan Alley an extension of the blues and vice versa and reshuffles the tune into a series of phrases--some smooth, some jagged, some staccato, others legato, all swinging. She seductively lags behind the beat on a ballad and races in front of it on an up-tempo and isn't afraid to tap into her reserve of gospel melisma when the spirit moves her. Anderson mines a genuine vein of emotion that shows no sign of running out.
-- Will Friedwald, 7 Days New York, May 1989

Never Make Your Move Too Soon Concord (CCD 4147) 1981 Grammy nominee

    Ernestine Anderson sings with great clarity and beautiful diction and the subtle slurs and inflections she employs place her firmly in that select little group of true jazz vocalists. By the simple expedient of changing the stress on one word in every five or six, she makes very personal statements on seven hardy standards and one blues. Her version of the 1938 melody "Old Folks" is as poignant and lyrical as any I have heard since Miles Davis revived the tune in 1961. If the old songs are the best -- and they often are -- her choice of material is inspired on this album.
-- Derek Ansell, New Note, November 1990

Live at the 1990 Concord Jazz Festival Third Set Concord (CCD-4454) 1990

    This Concord festival set captures one of the best singers around today in more sparkling form than usual, even for her. She swings splendidly through a selection of standards, blues and her own 'anthem', the groovingly philosophical "Never Make Your Move Too Soon" (offered here in a 15-minute version). The rhythm section generally comes up to the singer's standards ... Add guest spots by Frank Wess and Marshal Royal and the result is a very welcome addition to my growing collection of albums by this singer.
-- Bruce Crowther, New Note Jazz Journal, Sept. 1991

Be Mine Tonight Concord (CCD-4319) 1987

    On Be Mine Tonight, accompanied by saxophonist Benny Carter, bassist Ray Brown, organist Jimmy Smith, guitarist Ron Eschete, and pianist Marshall Otwell, Ernestine Anderson gives each tune a fresh approach ... from the beautiful ballad "Lend Me Your Life" to Ellington's classic "In a Mellow Tone." This is a welcome addition to anyone's record collection.

Live at the Alley Cat With the Frank Capp/ Nat Pierce Juggernaut Bellaphon (CCD 4336) 1987

    Everything seemed to go right at this session: the recording quality as well as the band's performance, the levels of the solos, and the interaction between Ernestine and the ensemble. From "I Let a Song Go Out of My Heart" and "Spring Is Here" to the Latinized "Street of Dreams", Ernestine demonstrates her innate swinging sensibility; she is one of a handful of unregenerate jazz singers.
-- Leonard Feather

When the Sun Goes Down Concord (CCD-4263) 1985 All blues!

    What we have here is not proof -- for proof was never needed -- but a soulful reminder that among her many gifts, Ernestine Anderson has more than a mere penchant for the blues. She has  a deep-down, abiding love for it -- which is precisely the feeling I have for this recording.
-- Leonard Feather

Big City Concord (CCD-4214) 1983 Grammy nominee

    Ernestine Anderson, herself a bright light on the great white way of American singers, illuminates the varied moods of urban shows, glows, and woes on this recording with a special beauty and conviction. When most folks talk about "the big city," they mouth hearsay and half-truths from suburban armchairs or rural back porches, but Ernestine has lived most of her life in the thick of it, and sings both from experience and from her heart.
-- Fred Bouchard

Sunshine Concord (CCD-4109) 1980

    Accompanied by pianist Monte Alexander, bassist Ray Brown, and drummer Jeff Hamilton, Ernestine Anderson sings ten tunes expressing the joy that underlies all her work: "Love," "Summertime," "Time After Time," "I've Got the World on a String," "Satin Doll," and more.

Live From Concord To London Concord (CCD-4054) 1978

    From the Concord Jazz Festival to Ronnie Scott's, from trio to big band, Ernestine Anderson brings a fresh, improvisational approach to each of the classic songs on this album -- whether it's a tender ballad like "Days of Wine and Roses" or the rollicking "Stormy Monday." For lovers of good songs beautifully sung, this album is a must.

Hello Like Before Concord (CCD-4031) 1977

    With superb accompaniment (Hank Jones  on piano, Ray Brown on bass, and Jimmie Smith on drums), Ernestine Anderson runs the gamut of jazz singing -- ballads, swing, and blues -- in a voice that is "richer than ever  with the warmth, the bite and the lingering kick of twelve star cognac."
 -- Maggie Hawthorn, Seattle Post-Intelligencer

The New Sound of Ernestine Anderson Collectable Jazz Classic (COL 5756)

(This is a reissue of a 1963 album for the Sue label)
    It's an album containing wit, romantica, blues, show tunes, and standards and above all, the most appealing and natural excitement of the lark's talent. The lush Brazilian melodies Jobim's "Quiet Nights" and Antonio's "One Heartache Ago" vocally translated by Ernestine make for perfect listening enjoyment. The tenderness and understanding of yours truly's "Will I Find My Love Today"and the old-timer "If I Love Again" show off her respect for lyrical responsibilities. Her sly wit sounds off in the finger-snappin' rendition of another one of my affairs, "Continental Mind." She bounces over the smart lyrics of Coleman & Leigh's "The Best Is Yet To Come" and nimbly glides over a hip, swingin' version of the Frank Loesser standout "I Believe in You" from the show "How To Succeed in Business Without Really Trying." Although her attractive warmth has been compared to that of Sarah Vaughn, and her vocal flexibility and rhythmic quality with those of Ella Fitzgerald, the purity of her sounds are strictly Ernestine Anderson.
-- Sydney Shaw

Ernestine Anderson: The Toast of the Nation's Critics Mercury (314 514 076-2) 1958

    Ernestine's first album in the United States was made after her debut album, recorded in Sweden and released here by Mercury under the title "Hot Cargo", created such a huge sensation. Nat Hentoff  wrote of this album in the October, 1959, Down Beat: "Miss Anderson certainly does sing in an attractive, naturally strong voice. It's a blessing not to hear the usual contorted gaspings that pass for jazz 'styles' among most new female aspirants. She also phrases with intelligence, taste, and a jazz musician's plasticity of line ... a refreshingly unaffected addition to the community of genuine jazz singers."