Lyn Stanley - The Moonlight Sessions, Vol. Two

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 58:18
Size: 136,8 MB
Art: Front

(3:50)  1. Makin' Whoopee
(3:19) 2. The Very Thought of You (feat. Christian Jacob)
(3:19)  3. That Old Feeling (feat. Mike Garson)
(2:34)  4. Summer Knows
(4:06)  5. Over the Rainbow (feat. Christian Jacob)
(5:02)  6. How Deep Is the Ocean? (feat. Mike Garson)
(4:54)  7. Angel Eyes (feat. Mike Garson)
(5:51)  8. At Seventeen (feat. Mike Garson)
(4:43)  9. You've Changed
(3:27) 10. Smile
(5:46) 11. Love Me or Leave Me (feat. Tamir Hendelman)
(2:42) 12. How Insensitive (feat. Christian Jacob)
(5:27) 13. Since I Fell for You (feat. Mike Garson)
(3:12) 14. I'll Be Seeing You

Song Stylist Lyn Stanley completes her Moonlight Sessions with Volume 2. This present offering follows only a few months after the release of her well-received The Moonlight Sessions, Volume 1 (A.T. Music, 2017), capping her project with a collection of carefully selected, well-covered standards, with a couple of surprises. Stanley's three-part creative paradigm, started with Volume 1 is continued and completed here. Stanley aimed to: one, reestablish a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. She has largely accomplished this, while still offering something beyond these creative vectors: a deeply intimate consideration of iconic life songs. The disc opens with a perfect Stanley vehicle, "Makin' Whoopie." She give the standard a spot-on sardonic reading that smolders with experience and humor. Hendrik Meurkens' harmonica provides just a slippery enough slope to send the song into the stratosphere. Stanley's romantically-charged, wistful reading of "That Old Feeling" segues nicely into the first surprise, "Summer Knows" from the film, Summer of '42 (Warner Bros., 1971). This pairing is a slick bit of programming deserving attention. The second such diptych involves the other surprise, Janis Ian's 1974 single "At Seventeen" from her album Between The Lines (Columbia). This is Stanley's most daring and inspired inclusion in this recital and she sings the song with a sepia nostalgic charge that makes the piece fit with the rest of the set list. Juxtaposed against the almost sheer darkness of "Angel Eyes," the two songs give ready evidence to Stanley's command of her repertoire and direction. Critic's Note: Anno Domini 2017, marks the 100th Anniversary of recorded jazz, deftly noted by the release of the Original Dixieland Jazz Band's shellac "Dixieland Jass Band One-Step (A)/Livery Stable Blues (B)," Victor 18255, recorded February 26, 1917 and released March 7, 1917. Just for perspective, in 1917, my father was 18 months old and my mother was yet to be born for two years. It is also the twentieth anniversary of me writing for All About Jazz. The first recording I reviewed for the magazine was Art Pepper's San Francisco Samba (Contemporary, 1997), published December 1, 1997. I am using this present review as part of a series noting my twentieth anniversary with the magazine and paying special tribute to my fellow writers at All About Jazz and Publisher Michael Ricci. ~ C.Michael Bailey https://www.allaboutjazz.com/lyn-stanley--the-moonlight-sessions-volume-2-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.Two

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Lyn Stanley - The Moonlight Sessions, Vol. 1

Styles: Vocal Jazz

Year: 2017

File: MP3@320K/s

Time: 50:42

Size: 116,6 MB

Art: Front

(4:56)  1. All or Nothing at All (feat. Christian Jacob)

(4:06)  2. Willow Weep for Me (feat. Tamir Hendelman)

(4:34)  3. Moonlight Serenade (feat. Christian Jacob)

(5:16)  4. My Funny Valentine (feat. Mike Garson)

(4:52)  5. Embraceable You (feat. Tamir Hendelman)

(3:01)  6. Why Don't You Do Right?

(2:59)  7. Girl Talk (feat. Mike Garson)

(4:19)  8. Crazy (feat. Mike Garson)

(3:07)  9. Close Your Eyes (feat. Mike Garson)

(4:38) 10. How Insensitive (feat. Tamir Hendelman)

(4:58) 11. Break It to Me Gently (feat. Mike Garson)

(3:49) 12. In the Wee Small Hours

With release of her various audiophile editions (LP, CD, reel-to-reel) of The Moonlight Sessions, Volume 1, Lyn Stanley brings into clear focus the driving forces behind her previous three releases: Lost in Romance (A.T. Music, LLC, 2011); Potions: From the '50s (A.T. Music, LLC, 2014); and Interludes (A.T. Music, LLC, 2015). These forces include: one, reestablishing a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. Stanley has made it a sharp point to pay close attention to the sonics of her recordings. She has always been able to surround herself with the best musicians and record in the warmest of environments like Hollywood, CA's Capitol Recording Studios, and Los Angeles, CA's The Village Studios and LAFx using Frank Sinatra's Telefunken U47 ("Telly") microphone, to boot. The recordings were analog mixed and mastered to 1/4" 30ips stereo tape, with engineering provided by Al Schmitt/Steve Genewick (tracking); Michael Bishop (mixing) and Bernie Grundman (mastering). The media produced for distribution are: One-Step 180 gram/45RPM/Double Vinyl LP; stereo SACD (Super Audio CD) Hybrids; and 1/4" 15ips reel-to-reel tape. What all this gear-head speak means is that the environment for the music has all the proper sonic nutrients and dry warmth to produce the type of recorded sound we, of a certain age, can remember hearing. Stanley's aim is to record and produce media able to provide test material for high- end audiophile playback systems; to do it thoughtfully and creatively; and to honor the music produced. Stanley's repertoire here is already amply time-tested to the point where it is fair to ask, ..."if we could possibly need one more standards vocal set?" Every generation needs an artist to set an example of how the songs making up the Great American Songbook are performed as nominally envisioned by the composers. For me, my introduction to the Songbook was through Linda Ronstadt's mid-'80s standards recordings, What's New (Asylum, 1983); Lush Life (Asylum, 1984); and For Sentimental Reasons (Asylum, 1986). Were these great vocal recordings? I suspect they were good enough as they got me interested in these songs from the 1920s-'50s that basically defined a jazz canon after 1945.

For the front end of the 21st Century, a solid argument can be made that Lyn Stanley is an artist bearing the mantle of teacher, to a new generation of music listeners, of the times and places from which jazz, instrumental and vocal music came. This extant collection of songs called "standards" has been nothing if not durable in its various interpretations. What Stanley provides in her previous three recordings, and now The Moonlight Sessions, Volume 1, is an elegantly conservative approach to these songs that can be compared to that of Frank Sinatra. Sinatra had great respect for the composers and songwriters providing him material, and he honored them in his styling of their songs. His interest was never about improvisation; it was always about sincere and well-balanced delivery. So, too, is Stanley's charge. Her recordings' superb sonics and carefully considered arrangements provide a nourishing environment for her to present these songs in a sophisticated manner befitting their introduction to the newly exposed. Finally, Stanley reminds us of the difference between a "song stylist" and a "jazz singer," though, if we were to construct a proper Venn diagram, there would certainly be overlap between the two. In comparison, Stanley has more in common with Sinatra than, say, Betty Carter. She is not going to detonate some barrage of scat and vocalese fireworks; rather, Stanley delivers her melodies unadorned by nothing more than her warm and intimate alto voice. On The Moonlight Sessions, Volume 1 Stanley addresses her material with spare yet graceful instrumental ornamentation. Her rhythm section is anchored by pianists Mike Garson, Christian Jacob, and Tamir Hendelman; bassist Chuck Berghofer; and drummers Ray Brinker, Bernie Dresel, {Joe LaBarbara}}. Added to this considerable firepower are other notable musicians, specifically chosen for the given compositions.

Stanley's Volume 1 recital kicks off with a clever "All or Nothing at All," bookended with trumpet quotes (courtesy of Chuck Findley) from George Gershwin's A Rhapsody in Blue. That little touch adds a sepia patina to the song before Stanley brings the song into the present. Stanley sings con brio, as does Findley in his finely-structured obbligato and solos. Tenor saxophonist Rickey Woodard digs deep, producing a muscular, virile tone to play foil to Stanley's coolly jaded protagonist on "Willow Weep for Me." The tempo is measured and determined, never lagging: a hard feat to achieve at slow tempo. The inclusion of Glenn Miller's "Moonlight Serenade" (with lyrics by Mitchell Parish) is a pleasant surprise and a smart nod to the Swing Era, when jazz was the popular music. Again, Stanley sings languidly, with a crepuscular recline in her voice. "My Funny Valentine" and "Embraceable You" deserve added attention for their ubiquity in recorded literature. Music writer Scott Yanow's published "Ten Songs That Should Be Avoided" in his book The Jazz Singers: The Ultimate Guide (Backbeat, 2008). This list necessarily includes "My Funny Valentine." Unless one can bring something dramatically new to this war-horse as Laurie Antonioli did darkly on her 2015 Varuna (Origin Records), it should be allowed to rest. My defense for Stanley's inclusion is her beautiful and conservative treatment, which presents the melody as originally intended. Then, compare it to Chet Baker's idiosyncratic Chet Baker Sings (Pacific Jazz, 1954) to hear two vastly different approaches to the same song. This same reasoning works for "Embraceable You": Listen to Stanley's purring performance of the tune, and then to Charlie Parker's famous 1947 recording to hear what the big deal about jazz is. That said, Stanley did not play everything by the book. Her performance of Willie Nelson's (by way of Patsy Cline) "Crazy" is arranged as a polite roadhouse romp where the singer lets her hair down. The inclusion of Brenda Lee's "Break It to Me Gently" is inspired, forcing the perimeter of what are considered "standards" a little further out. Stanley closes with "The Wee Small Hours in the Morning," reminding us, of necessity, of Frank Sinatra in our musical collective consciousness...and of the necessity of Lyn Stanley and her mission. Now, on with Volume 2! ~ C.Michael Bailey https://www.allaboutjazz.com/the-moonlight-sessions-volume-1-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.One

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Lyn Stanley - Interludes

Styles: Vocal
Year: 2015
Time: 58:41
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(4:03) 1. How Long Has This Been Going On
(3:33) 2. Just One Of Those Things
(4:37) 3. Black Velvet
(4:23) 4. More Thank You Know
(4:31) 5. Boulevard Of Broken Dreams
(5:26) 6. Whole Lotta Love
(3:28) 7. Last Tango In Paris
(5:09) 8. Don't Explain
(2:58) 9. Nice 'n Easy
(5:13) 10. The Island
(3:53) 11. It's Crazy
(4:47) 12. In A Sentimental Mood
(3:15) 13. I Was A Little Too Lonely
(3:18) 14. I'm A Fool To Want You

Vocalist/producer Lyn Stanley has established herself as a foremost stylist of the Great American Songbook. That is no mean feat. The sheer amount of vocal music made each year around the Songbook is impressive. It is too bad that the quality of a great many of those recordings is not equally impressive. Stanley's two previous recordings, Lost in Romance (A.T. Music, LLC, 2013) and Potions: From the '50s (A.T. Music, LLC, 2014), have been an evolving prelude to the present. "How Long has This Been Going On," the opener for Interludes demonstrates Stanley's command of the standard.

But it is not the jazz standard that is special about Interludes. Stanley addresses two more recent compositions: "Black Velvet," released by Alannah Myles in 1989 and Led Zeppelin's "Whole Lotta Love," from Led Zeppelin II (Atlantic, 1969).

Lyn Stanley takes on the most white-hot anthem of the carnality of youth. She does so unflinchingly. There is little to be nostalgic about young love once you've learned what you are doing. And that is Stanley's point with covering this song. Arranged by guitarist John Chiodini the nominal blues-rock monolith becomes a steamy rumba propelled by bassist Chuck Berghofer and drummer Paul Kreibich, whose deft tom-tom work amps up the performance's already heady sensuality. Then, there is Stanley, who produced this recording, ensuring that a proper mixture of Bobby Gentry's "Ode to Billy Joe," Peggy Lee's "Fever," and Dusty Springfield's "Son of a Preacher Man" are admixed into one grown up vision of love, sex, and the whole shooting match.

Think if George Gershwin had composed "Summertime" with J.J. Cale and you may begin to get the idea. Stanley must be applauded for taking this gigantic artistic chance. So many "jazz" covers of contemporary material end so badly. In this case, not so. This is a special release in every way. By C. Michael Bailey https://www.allaboutjazz.com/interludes-lyn-stanley-at-music-llc-review-by-c-michael-bailey

Personnel: Lyn Stanley: vocals; Mike Garson, Bill Cunliffe: piano; Chuck Berghofer: bass; Ray Brinker, Paul Kreibich: drums; John Chiodini: guitar; Cecilia Tsan: cello; Brad Dutz: percussion; Bob McChesney: trombone; Hendrik Meurkens: harmonica; Steve Rawlins: finger snaps.

Interludes

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Lyn Stanley - Potions

Styles: Vocal Jazz
Year: 2015
Time: 58:45
File: MP3 @ 320K/s
Size: 137,0 MB
Art: Front

(2:55) 1. Lullaby Of Birdland
(4:01) 2. Cry Me A River
(3:40) 3. Fly Me To The Moon
(3:29) 4. Hey There
(2:35) 5. I'm Walkin'
(4:35) 6. You Don't Know Me
(4:27) 7. In The Still Of The Night
(4:39) 8. The Thrill Is Gone
(3:31) 9. A Summer Place
(3:26) 10. Love Potion #9
(3:52) 11. Teach Me Tonight
(3:21) 12. After The Lights Go Down Low
(5:23) 13. Misty
(2:47) 14. The Party's Over
(5:56) 15. The Man I Love

We Baby Boomers are a persnickety bunch. We revel in our nostalgia while keeping a jaundiced eye on current trends and how derivative they are compared with those we experienced when they were really new. Critics dismiss this nostalgia as wasted pathos, pining away for what can never be again. That is missing the point. Memory and reminiscence are powerful comforts much like a cat's purr. They help us recall and allow us to put the past into perspective in the relative safety of our own minds and time.

Music proves to be a most potent generator of nostalgia. Most properly, it acts as our life soundtrack, the Stones' "Gimme Shelter" in turbulent times and Vivaldi's "Winter" when calm. A well-programmed collection of songs, housed within a thoughtful theme can be a most effective nostalgia stimulant. Such programming maximizes the joy and pleasure of the music above and beyond the songs considered individually.

It is this invention in programming and repertoire choice that makes singer Lyn Stanley accomplished by any measure. Her debut recording, Lost in Romance (A.T. Music, LLC, 2011) revealed the singer's keen ear for the well-known and not-so-well-known in the American Songbook. By including the less known songs, Stanley has effectively expanded the Songbook, something she continues on Potions: From the '50s.

On Potions, Stanley assembles 15 pieces prominent in the 1950s. They are not all jazz standards or showtunes, though both are in evidence. Stanley's artistic care and attention to detail expresses itself from the start in George Shearing's superb "Lullaby of Birdland." Pianist Bill Cunliffe consorts with bassist Mike Valerio and drummer John Robinson, establishing a light Latin vibe over which Stanley delivers George David Weiss' piquant lyrics. Tom Rainer provides a woody clarinet to the mix, making the piece quite international. "Cry Me a River" is taken at a ballad pace, accented by Ricky Woodards's tenor saxophone. The effect is close, smoky, intimate.

Stanley's nod to Sinatra is in a sprite and bouncy "Fly Me to the Moon. The singer assimilates the country and western of Eddy Arnold's "You Don't Know Me" and the early New Orleans rock of Fats Domino's "I'm Walkin,'" Bill Cunliffe and guitarist Thom Rotella trading eights in the solo section. Central to the collection's theme is Leiber & Stoller's "Love Potion #9." Stanley pulls a sexy samba out of the tune, propelled by Kenny Werner's piano and Hammond B3. Stanley punctuates the disc with a delicate and revealed "Misty" that showcases her command of all things ballad.

The music industry is changing so quickly and seems moving away from the cogently produced arranged album format. That is too bad. On Potions, Stanley perfects the thematic ring of her collection, adding one more bit of the past, analog recording. Music this warm should be bonded like fine brandy heated by the smoke of a Monte Cristo.By C. Michael Bailey
https://www.allaboutjazz.com/potions-from-the-50s-lyn-stanley-at-music-llc-review-by-c-michael-bailey

Personnel: Lyn Stanley: vocals; Kenny Werner: keyboards; Bill Cunliffe: Keyboards; Mike Lang: keyboards; Johannes Weidermeuller: bass; Mike Valerio: bass; Joe LaBarbera: drums; Ari Hoenig: drums; John Robinson: drums; Glenn Drewes: trumpet, flugelhorn; Thom Rotella: guitar; Rickey Woodward: tenor saxophone; Tom Rainer: clarinet; Luis Conte: percussion.

Potions

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Lyn Stanley - Novel Noel: A Jingle Cool Jazz Celebration

Styles: Vocal, Holiday
Year: 2022
File: MP3@320K/s
Time: 56:41
Size: 132,2 MB
Art: Front

(4:08) 1. Zat You Santa Claus?
(5:36) 2. Have Yourself A Merry Little Christmas
(4:05) 3. Come Dance With Me
(4:47) 4. Little Drummer Boy (Jazz Version)
(3:45) 5. It's Magic
(3:52) 6. The Way You Look Tonight
(6:35) 7. I Concentrate On You
(4:10) 8. Christmas Waltz
(4:33) 9. Boogie Woogie Santa Claus
(3:09) 10. Moonlight In Vermont
(4:11) 11. Merry Christmas Darling
(2:50) 12. Holy Night
(4:55) 13. Mary Did You Know (Bonus Track)

Vocalist Lyn Stanley ironically calls her ensemble the Big Band Jazz Maverick when it is she who is the maverick, the evidence being how seamlessly she expands the holiday canon on Novel Noël: A Jingle Jazz Celebration. Over the past decade, Stanley has done two significant things: one, she has methodically and with carefully considered concepts addressed in the Great American Songbook, and, two, she has become a foremost audiophile, sweating all of the small stuff. This added attention and effort pays off in her superb holiday offering. Originally intended for release in 2021, personal and global circumstances changed the project's trajectory. Six of the 13 selections were released under the same title.

The entire package was worth the wait. Stanley spikes the eggnog with vintage, 100-proof nostalgia, recalling the swinging 1950s. The opening track, "Zat You Santa Claus" sets the tone for the entire release, with Stanley echoing Pops before launching into the most sophisticated and swinging updates of the song. Eartha Kitt may own "Santa, Baby," but Stanley one-ups that performance with this playful and festive steal from Satchmo. "Little Drummer Boy" is mashed up with "Take Five" and "Mary Did You Know" receives a stark and plaintive reading. Stanley deftly slides into the playlist standards made for the holidays: "Come Dance With Me," "It's Magic," and "The Way You Look Tonight" sound as if they have been in the holiday canon all along; what Stanley shows us is that they have been. It is fitting that this recording is the best the singer has imagined and recorded. This is what Christmas is about.
By C. Michael Bailey https://www.allaboutjazz.com/november-2022-novel-noel-a-jingle-jazz-celebration-lyn-stanleyr

Personnel: Lead Vocals [Vocalist (Lead)] – Lyn Stanley; Trumpet – Christopher Gray, Kye Palmer, Robert Schaer, Wayne Bergeron; Trombone – Andrew Martin, Bob McChesney, Craig Gosnell, Francisco Torres; Saxophone, Flute – Brian Scalon, Jay Mason, Kristen Edkins, Sal Lorenzo, Tom Leur; Rhythm Guitar [Rhythm (Guitar And Leader)] – John Chiodini; Piano – Bill Cunliffe, Christian Jacob, Pat Coil; Tenor Saxophone – Rickey Woodard; Drums, Percussion – Aaron Serfaty; Drums – Bernie Dresel; Double Bass [Upright Bass] – Chuck Berghofer

Novel Noel: A Jingle Cool Jazz Celebration

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Lyn Stanley - London Calling: A Toast to Julie London

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 66:04
Size: 154,0 MB
Art: Front

(2:45)  1. Goody Goody
(3:35)  2. Call Me Irresponsible
(2:48)  3. Bye Bye Blackbird
(5:29)  4. I Heard It Through the Grapevine
(2:54)  5. How About Me?
(4:01)  6. Cry Me a River
(5:17)  7. As Time Goes By
(5:03)  8. Summertime
(3:51)  9. It's Impossible
(3:14) 10. Blue Moon
(2:46) 11. I've Got a Crush on You
(3:33) 12. Light My Fire
(5:09) 13. Sway
(2:52) 14. Go Slow / Nice Girls Don't Stay for Breakfast
(2:21) 15. You the Night and the Music
(4:03) 16. Ev'ry Time We Say Goodbye
(6:16) 17. Summertime (Piano / Vocal)

In London Calling, Lyn Stanley is at her best. Let her beautiful sultry voice take you through Julie London covers. Her top tier jazz band created 17 live arrangements that offer a new perspective on the American Songbook. The sound is spectacular. Fans and critics are saying: "Outstanding Sound" "Incredible!" "This will become one of you favorite albums."

Lyn Stanley's London Calling…A Toast To Julie London as she reimagines 17 classic songs Award-winning, internationally acclaimed jazz vocalist Lyn Stanley follows her top-selling Moonlight Sessions albums with an ultimate tribute to Julie London in music and sound! In this stunning new collection listeners will discover a side of singer Lyn Stanley that they haven’t heard before. The 17 tunes on this recording explore phases of romance from first glance, in “Blue Moon,” to a missed chance, in “Cry Me a River.” Most of the wide-ranging material presented here was originally recorded by singer/actress Julie London, along with a couple of offerings that Stanley feels would have been perfect for the sultry songstress, such as “It’s Impossible,” and “I Heard It Through the Grapevine.” With her distinctive sound and approach, Lyn Stanley brings to mind a method actor, mining the stories and feelings in each tune and getting to the heart of the lyrics. Striving for sensitivity, Stanley stays true to these stories and portrays the experiences of people engaged in the dance of romance. Besides being a well-conceived appreciation of the popular singer/actor Julie London, in both music and album graphic presentation, London Calling marks a big step forward in Lyn Stanley’s evolution as a recording artist. She recalls that for her debut album, 2013’s Lost in Romance, her mentor Paul Smith, renowned as Ella Fitzgerald’s long-time musical director and frequent collaborator, offered a lengthy tune list and urged the fledgling vocalist to pick some she could relate to. “It was as if you had a bunch of ingredients on the table and had to decide on the spot if you are going to make ramen or spaghetti,” she muses.  Just five years later, Stanley provided a recipe of her own to bring her unique vision of the Julie London project to fruition. Not only did she have a self-curated set list, she also had a clear idea of how each tune should sound, aiming to hold true to the composers’ ideas while stirring in some of her own. Lyn Stanley always makes a practice of working with top-flight musicians, and once she communicated her ideas to them, she welcomed their input. Without any written arrangements, the brilliant results of their collaboration bring cutting-edge ideas to vintage songs. “It’s a thrill to hear something you’ve brought into life,” Stanley says. “It came to me so easily once I got my bearings.” The singer opted for an intimate sound from a stellar lineup that brings together some of the very best players on the California jazz scene:guitarist featured artist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty (also heard on drums); and drummer Paul Kreibich. With London Calling's artful packaging, Stanley finds another way to pay tribute to her inspiration, Julie London, who said photo shoots for her albums took longer than the recording process. That's not the case with Stanley, whose audiophile bona fides and perfectionism in the studio and throughout production are well established. But the gorgeously photographed images of the elegantly clad chanteuse are an homage to London's sensuous approach that reflects Lyn's own 21st century sensibilities. Completing the package are liner notes by Scott Yanow, offering a historian’s perspective on the music, providing background on each song, and insights to how Lyn and Julie! approached the tunes.

London Calling highlights include: “Cry Me a River” This heartfelt but cool take on the quintessential London hit has an after-hours feel, touching on former feelings without longing or regret. With this strong and simple statement, Stanley knows when to dig in and when to hold back.

Joyful and tender, “As Time Goes By” is handled with delicacy and feeling, evoking the past while looking to the future. Stanley’s swinging interpretation of “Goody Goody” has a bit of a bite and a bad-girl attitude; it’s a breakup story told by someone who’s landed on her feet. “Call Me Irresponsible” gives us a peek at the vulnerable side of a sophisticate in this persuasive rendition of a classic. The crisp swing culminates in a seductive purr.  On “It’s Impossible,” Stanley portrays the sense of wonder felt at the first flush of romance with divine understatement and a slight ache in her voice. Check out the delightful collaboration with percussionists Luis Conte and Aaron Serfaty. Stanley smolders on the slow, slinky, shimmering “Sway,” making every note every pause matter. The flamenco-flavored “Light My Fire” is full of sensuous invitation. Romantic and intriguing, it’s a refreshing new look at the Doors’ hit from the late 1960s. “Summertime” is a tune so nice Stanley had to record it twice on London Calling. The ensemble rendition is spare, supple, and sultry, with her voice shining like a jewel in the lean arrangement. On a duo version, Stanley and pianist Mike Garson play at a hot-August-night tempo that’s full of haunting, hypnotic allure. You’ve never heard “I Heard It Through the Grapevine” done quite like this! The relentless rhythm of this great ensemble piece conveys an ominous undercurrent, as Stanley’s treatment of the lyric reveals an iron will in a velvet voice. A favorite among audiophiles, Stanley plans to release multiple versions of London Calling, including 17 tracks on a choice of super-audio CD or two-disc vinyl LP set. A dozen tunes will also be offered on a direct-to-disc vinyl recording. Stanley’s tradition of surrounding herself with the best comes through bright and clear in the magnificent sound of this recording, thanks to engineering by Steve Genewick, Rouble Kalpoor, and Spencer Garcia; mixing by Allen Sides, and mastering by Bernie Grundman.

London Calling…A Toast To Julie London is a culmination of Lyn Stanley’s lifetime of rich experience, both personal and professional, from her long-time enjoyment of London through her own her early perceptions of romance. For the project she tapped into communications techniques developed as a successful corporate manager along with a jazz-inspired approach to rolling with obstacles in creative and innovative ways. Besides being a state-of-the-art tribute (following both the musical ideas and marketing platforms of Julie London), it is also a revelation of Lyn Stanley's formidable chops. With a late 2018 audiophile release and Valentine's Day weekend February 15, 2019 wide release street date, London Calling…A Toast To Julie London is a gift for lovers and lovers of great music, created the way it was in the 1960s  by the musicians themselves as a band. Keep an eye out for multiple versions of the album, including standard and super-audio CDs, along with a two-disc vinyl LP set. Produced by Lyn Stanley, with Associate Producer John Chiodini. Executive Producer: A.T. Music LLC. Engineered for high fidelity using analog mixing and mastering. Engineers: Steve Genewick (tracking), Allen Sides (mixing, and Bernie Grundman (mastering). Recorded and Mixed at United Recording, Studio A in Hollywood, using the Focusrite analog console, one of only ten ever made. https://store.cdbaby.com/cd/lynstanley20

London Calling: A Toast to Julie London

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Lyn Stanley - Live at Studio A

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 66:23
Size: 154,7 MB
Art: Front

(7:36) 1. Trieste
(4:54) 2. Pink Cadillac
(3:42) 3. Route 66
(3:38) 4. Blue Moon
(2:31) 5. You the Night and the Music
(2:58) 6. Go Slow / Nice Girls Don't Stay for Breakfast
(3:48) 7. Let There Be Love
(2:43) 8. Goody Goody
(4:12) 9. Love Letters
(5:21) 10. Sway
(5:45) 11. As Time Goes By
(3:16) 12. In the Still of the Night
(3:20) 13. Lover Man
(4:25) 14. Cry Me a River
(1:49) 15. Girl Talk
(3:33) 16. You Never Can Tell
(2:43) 17. Bye Bye Blackbird

Discovered in 2010 by world class jazz pianist and legend, Paul Smith, Lyn Stanley entered singing with the world’s most famous accompanist, Paul Smith and his trio, four months after meeting her. Lyn was born in Tacoma Washington, the same birth town as singers Diane Schuur and Janis Paige. Her dad played piano by ear in the style of Erroll Garner, and Lyn was an attentive listener at an early age. She also had a grandfather who was an opera singer and an uncle who sang tenor roles in local theater groups in Long Beach, CA. Lyn Stanley entered the singing world through a side door ballroom dancing. She began dancing in 2004 and took a fast study track to becoming a Pro/AM champion in ballroom dancing’s International Standard style and won three events and two national titles in 2010. She also placed 3rd in a World Title event the same year in the same style. Her dancing background leads her rhythm-making her singing style stand out, especially when added to her unique vocal tone.

Following her stage debut with Paul Smith, Lyn was accepted into an international open call for a Cabaret training program at Yale University. It was there Lyn learned how to prepare a one-woman show training with some of the greatest performers working in the industry including Amanda McBroom, Julie Wilson, Tovah Feldshuh, Sally Mayes, and Alex Rybeck. Her first one-woman show, “Makin’ Whoopee” was well-received by audiences and critics creating a call for an album from her fans. The birth of her debut album “Lost In Romance” came from her idea to present ballroom dancing rhythms and tempos into jazz interpretations. After all, jazz was first heard in the dance halls and then navigated to the instrumental solos popular today.

Lost In Romance is a unique album that combines 13 of Los Angeles’ best jazz musicians performing in four different trios along with soloists. The album is organized as a tale of love’s in’s and out’s, trials and tribulations, joys and disappointments in a sequence that is best appreciated when heard in song order. The songs include traditional Great American Songbook tunes, but also step into blues and even Broadway-with “Losing My Mind” performed from a dancer’s perspective in a jazz arrangement. The album’s musicians and stellar arrangements were created by Tamir Hendelman, Steve Rawlins and Llew Matthews all three have worked with some of the greatest artists in America including Barbra Streisand, Bette Midler and Nancy Wilson. Paul Smith listened to Lost In Romance shortly before his death on June 29, 2013. As Lyn’s mentor, he told her he was very pleased with the album and rated it “A++.” Those who knew Paul can attest that his accolades were sparse and his expectations high from every musician and singer he encountered. Prior to his death, he confided to Lyn that he “hoped to be around for her 10th album” and he believed others would appreciate her work as much as he did. https://www.allaboutjazz.com/musicians/lyn-stanley

Live at Studio A

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Lyn Stanley - Lost in Romance

Styles: Jazz Vocals
Label: Self Released
Year: 2013
File: MP3@320K/s
Time: 62:10
Size: 143,5 MB
Art: Front

(4:44)  1. Change Partners
(4:00)  2. Watch What Happens
(4:08)  3. Fever
(4:00)  4. That Old Black Magic
(5:18)  5. The Nearness of You
(5:00)  6. You Go To My Head
(3:48)  7. I Just Want To Make Love To You
(4:26)  8. My Foolish Heart
(3:36)  9. What Am I Gonna Do With a Bad Boy Like You?
(4:47) 10. Losing My Mind
(4:07) 11. One For My Baby
(4:29) 12. Sugar on the Floor
(2:40) 13. Too Close For Comfort
(3:53) 14. Something
(3:09) 15. The Last Dance

Singer, dancer, ingenue, Lyn Stanley is a fully realized and mature talent exploding into her own. An award-winning ballroom dancer, Stanley melds that physical experience of movement with her performance of jazz standards, bringing the genre back to its dancing, kinetic roots. As executive producer, Stanley brings a Midas touch to the proceedings, producing in wholly urbane and sophisticated collection of the best the Great American Songbook has to offer. It takes a certain fortitude to record one more collection of jazz standards,but, then again, this is the most appropriate starting place for Stanley. Standards are the proving ground for Stanley's singing philosophy and that philosophy is a sound and entertaining one. 

The songs include a smoldering "Fever," an island humid "That Old Black Magic" and a late-night "The Nearness of You" (featuring the inestimable Bob Sheppard on tenor saxophone) that set a relaxed mood, one that is sure of the talent to which it's being devoted. There are no steep cliffs here, only straight and elegant byways to pass the time, with some exceptional ballad and mid-tempo vocal performances by the dense loam of talent that is Lyn Stanley. Stanley takes these songs on with a conservative ear, opting for a traditional performance. The value of this approach is to always allow the composer to speak as intended when conceiving these pieces. Stanley's singing is beyond sexy or sensuous; it is whatever transcends these anemic descriptors. This is singing and delivery that must wait for the proper word to come along to define it. The same applies for the elegance and grace her accompanying musician bring to the project, a who's who of West Coast jazz talent convening for a holiday and that holiday is Lost In Romance.~C.Michael Bailey 

(http://www.allaboutjazz.com/php/article.php?id=45010#.UhdknX-Ac1I).

Personnel: Lyn Stanley: vocals; Tamir Hendelman: piano (1, 2, 4, 5, 8, 15); Mike Lang: piano (3, 6, 9-11); Llew Matthews: piano (7, 13, 14); Trey Henry: bass (1, 2, 4, 5, 8, 15); Jim DeJulio: bass (3, 6, 9-11); Kevin Axt: bass (7, 13, 14); Jeff Hamilton: drums (1-3, 6, 9, 15); Bernie Dresel: drums (4, 5, 8, 10-12); Paul Kreibich: drums (7, 13, 14); Gilbert Castellanos: flugelhorn (1), trumpet (15); Bob Sheppard: tenor saxophone (4, 5); Thom Rotella: guitar (10-14); Bob McChesney: trombone (6, 9).

Lost in Romance

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