The Moonlight Sessions Volume One (2017)

Altman, Lawrence, Ronell, Miller, PARISH, Hart, Rodgers, Gershwin, MC COY, Hefti, Troup, Nelson, PETKERE, De Moraes, Gimbel, Jobim, LAMPERT, SENECA, HILLIARD, Mann

Lyn Stanley

The Moonlight Sessions Project, Volumes One and Two, are an exploration into the depths of love lost and love present. The project was developed with the intention of creating a new take and approach to arrangements and was dedicated to the famous arranger, Sammy Nestico, best known for his swinging Count Basie arrangements but also worked for many other music greats.  Mr. Nestico was involved in the development of this project from its inception.
The project was recorded (tracked) over the course of three days and all 26 songs are included in Volumes One and Two.  The recording engineers were Al Schmitt and Steve Genewick (four of the 26).  Michael Bishop was the mixing engineer for Volume One and Al Schmitt was the mixing engineer for Volume Two that includes 30 string players from the Budapest Scoring Symphonic Orchestra.  State of the art engineering was employed in this analog mixed and mastered project using ATR tape.  The project was mastered at 30ips to 1/4 inch Studio Master tape.
Initially the project was to focus on a tribute to Stanley Turrentine, the famous saxist from Philadelphia Pennsylvania but as the project evolved it expanded to include classic compositions incorporated into timeless music treasures such as Over The Rainbow, That Old Feeling, Angel Eyes, The Summer Knows and more. Background on this story is on Lyn's website.
The project includes some of the most incredible musicians we know today, including pianists Mike Garson (David Bowie), Christian Jacob (Tierney Sutton Band) and Tamir Hendelman (Barbra Streisand, The Jeff Hamilton Trio).  Acoustic bass player for this project is Chuck Berghofer (The Wrecking Crew, Frank Sinatra), and drummers Joe LaBarbera (Bill Evans), Ray Brinker (Tierney Sutton Band), and Bernie Dressel (BBB, and last drum playing scene of movie Whiplash). Guitar work by John Chiodini (Peggy Lee) and Percussion by Luis Conte (James Taylor, Phil Collins) Side musicians include greats in their specialties and most have worked for every famous artist known in the 20 and 21st century.

The project was tracked at The Village Studio (Fleetwood Mac's D Studio), Capitol Recording Studios A & B (mixed in Studio C) and LAFx all in Hollywood CA.

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Lyn Stanley

Known as the “sultry jazz singer of the decade,” Lyn Stanley’s fan base is worldwide, making her an International Recording Artist.  Coined by critics as a “vocal stylist,” favoring the style of the beautiful voice and music from the 1950s and 1960s, Lyn has had five American Songbook album releases and one holiday single (Little Drummer Boy) since 2013.  She has captured worldwide acclaim and is now a notable Independent artist.  

 

All of her award winning albums have achieved the status of #Top Selling 1% on CDBaby.com, a music distributor with over 600,000 titles. Currently all five of her albums are in the TOP 300 of CDBaby sales.  Her album titles are Lost In RomancePotions [from the 50s’] and Interludes, The Moonlight Sessions Volumes One and Two.  Her work is known as top quality and reference quality for the audiophile world of music lovers with sensational home systems. She performs and records with top jazz pianist talent including Paul Smith (Ella Fitzgerald), Mike Garson (David Bowie), Tamir Hendelman,(Barbra Streisand), Bill Cunliffe, Kenny Werner and Mike Renzi, who toured with Tony Bennett.   Lyn has sold over 37,000 physical albums and several thousands more down-loads around the world.

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The Moonlight Sessions Volume One (2017)

Altman, Lawrence, Ronell, Miller, PARISH, Hart, Rodgers, Gershwin, MC COY, Hefti, Troup, Nelson, PETKERE, De Moraes, Gimbel, Jobim, LAMPERT, SENECA, HILLIARD, Mann

Lyn Stanley

    HFP Online

For those who love Jazz vocals, a real delicacy can be found in Lyn Stanley's new album The Moonlight Session Volume One. Here we have a great compilation of Jazz evergreens. Including well known melodies such as "Moonlight Serenade", "My Funny Valentine", "Girl Talk" and "Close Your Eyes". The album features a fine musical repertoire and a great recording. Stanley brings a passionate and very personal style to well known melodies. And this extends not only to the songs she selected but also her accompanying musicians. The album's musical lineup includes Mike Garson (David Bowie's pianist), John Chiodini (who was Peggy Lee's guitarist) and Joe LaBarbara (who was Bill Evan's drummer). The result is a quiet, melodic album. For those who are just getting started in the Jazz genre, it constitutes the perfect entry into this world.

Mihály Czékus[read full review]

    NativeDSD Reviewer

As insightful as the arrangements are, Stanley’s voice, of course, is the real key to these albums. She has wide, high quality vocal range with the ability to sing crystal clear highs in one phrase, then smoky, sultry lows in the next. In “Angel Eyes” (Vol. 2) and “My Funny Valentine” (Vol 1), for example, Stanley demonstrates impressive control over her voice, singing with clarity, texture, and pleasing vibrato—all leading to that essential emotional connection with listeners. Stanley’s musicians, too, are equally talented; she spared no expense here. From extended intros incorporating classical music to nuanced solos, the instrumentalists provide sensitive accompaniment to Stanley’s expressive performance. (...)

John Huxhold and Eric Meyer[read full review]

    All About Jazz

Rating: 4.5 out of 5 stars With release 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?ike Hollywood, CA's Capitol Recording Studios, and Los Angeles, CA's The Village Studios and LAFx?sing 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). 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 and 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!

Michael Bailey[read full review]

    AWARDS

All About Jazz Best Album 2017, Global Music Award Silver Award Winner 2017 Best Album and Best Female Vocalist

The Moonlight Sessions Volume One (2017)

Altman, Lawrence, Ronell, Miller, PARISH, Hart, Rodgers, Gershwin, MC COY, Hefti, Troup, Nelson, PETKERE, De Moraes, Gimbel, Jobim, LAMPERT, SENECA, HILLIARD, Mann

Lyn Stanley

Analog Recording Equipment:

The project was mastered at 30ips to 1/4 inch Studio Master tape. Special ATR modified tape machine at Capitol and customized Studer tape machine at Bernie Grundman Mastering

Digital Converters:Bernie Grundman using Sonoma
Mastering Engineer:

Mastering Engineer: Bernie Grundman, Bernie Grundman Mastering
Mixing Engineer: Michael Bishop, Five Four Productions - Volume One,
Digital Mastering and metadata addition: Gus Skinas, Super Audio Center

Microphones:Vintage Telefunken -Neumann U47 (used by Frank Sinatra and Nat King Cole)
Producer:Lyn Stanley, Assistant Producers: Mike Garson, John Chiodini
Recording Engineer:Al Schmitt (10 tracks) and Steve Genewick (tracks 'Why Don’t You Do Right?' and 'Wee Small Hours')
Recording location:The Village Studio D, Capitol Recording. Studio B and LAFx Studio
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This album was recorded to Analog tape. It was then transferred to the DSD bit rate indicated above.

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3105: The Moonlight Sessions Volume One
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Tracks
1.
All or Nothing At All
Altman, Lawrence
00:04:57   Select quality & channels above
2.
Willow Weep For Me
Ronell
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3.
Moonlight Serenade
Miller, PARISH
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4.
My Funny Valentine
Hart, Rodgers
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5.
Embraceable You
Gershwin
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6.
Why Don't You Do Right?
MC COY
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7.
Girl Talk
Hefti, Troup
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8.
Crazy
Nelson
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9.
Close Your Eyes
PETKERE
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10.
How Insensitive
De Moraes, Gimbel, Jobim
00:04:39   Select quality & channels above
11.
Break It To Me Gently
LAMPERT, SENECA
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12.
In The Wee Small Hours
HILLIARD, Mann
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