Lyn Stanley | Lyn Stanley Interludes-SACD Super CD-Limited Edition Numbered

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Lyn Stanley Interludes-SACD Super CD-Limited Edition Numbered

by Lyn Stanley

The beautiful velvet sound of Lyn Stanley in her best album to date. Songs of love from classics to rock hits. This, her third album, has critics and listeners raving from her song choices to exceptional jazz arrangements performed by the best in jazz.
Genre: Jazz: Jazz Vocals
Release Date: 

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  Song Share Time Download
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1. How Long Has This Been Going On?
4:04 album only
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2. Just One of Those Things
3:34 album only
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3. Black Velvet
4:39 album only
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4. More Than You Know
4:24 album only
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5. Boulevard of Broken Dreams
4:32 album only
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6. Whole Lotta Love
5:28 album only
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7. Last Tango in Paris
3:31 album only
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8. Don't Explain
5:11 album only
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9. Nice 'n Easy
3:01 album only
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10. The Island
5:15 album only
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11. It's Crazy
3:53 album only
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12. In a Sentimental Mood
4:50 album only
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13. I Was a Little Too Lonely
3:18 album only
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14. I'm a Fool to Want You
3:18 album only

ABOUT THIS ALBUM


Album Notes
This IS the best sounding CD you've ever heard. State-of-the-art technology and it is created at ONE plant in the entire WORLD. Typical CDs do not hold a candle to the sound of this exciting limited edition SACD that will play on your car stereo AND your blu ray/DVD player. Treat yourself to unbelievable experience--and hear the difference! It will sound as if Lyn is in the room singing to you. Costs a bit more because its expensive to create, but you won't be disappointed in the sound! This is an original analog tape mixed and mastered album--the finest recording possible. And, then to the music itself...the critics are loving it!! Read on...

"Combine the slinky arrangements and the first class playing and its clear Ms. Stanley was looking to take things up more than a few notches and putting enormous pressure on herself to not be left in the musical dust— which could have happened...Stanley’s artistic growth is immediately obvious and by the end of the track you’re thinking more artistry and less artifice."-Michael Fremer, Analog Planet.

“Lyn Stanley’s recent Interludes is her most adventurous and exciting recording yet. Her expressive and versatile vocals pay justice to the lyrics that she interprets, her voice is at various times quietly emotional, seductive, saucy and inviting, and she sounds comfortable no matter what the setting.” –Scott Yanow, jazz critic

"Jazz singer par excellence Lyn Stanley never ceases to amaze. It is no wonder as not only does she possess a deep, right velvety smooth voice but the Cds are fabulously produced....Stanley is well on her way to becoming a jazz superstar...I predict [Interludes] will be her biggest hit to date."--Don Grigware, Broadway World critic

"5-Stars..Vocalist/producer Lyn Stanley has established herself as a foremost stylist of the Great American songbook. This [Interludes] is a special release in every way."--C. Michael Bailey, jazz critic, AllAboutJazz.com

"LYN STANLEY/Interludes: In these deconstructed times, it feels like you’re spitting in the wind when you try to extol the virtues of an indie act. Stanley was right on the money from the start and the public has born this out. It’s hard to be a successful jazz singer in the best of circumstances but Stanley has been doing the best of old school in all levels of the game and the public has responded. Doing it her way on her own label from songs to personnel to tech specs, she’s been proven to be the proverbial hostess with the mostest. In her case, three isn’t the charm, it’s the monster. With loads of talent supporting her letting her have the room to shine, even if she’s occupied the producer’s chair as well this time around, you are not a jazz vocal fan if you don’t accede that she’s at the top of her game at the top of the genre. Making both “Black Velvet” and “I’m a Fool to Want You” her own in the same session---all I can say is what do you expect from a gal that records in Capitol Studio and has both Al Schmitt and Bernie Grundman working in the background? Killer stuff throughout like they don’t make anymore---and should!"

CHRIS SPECTOR, Editor and Publisher-Midwest Record Review"

LYN STANLEY'S INTERLUDES LINER NOTES:
As I introduce my third album, Interludes, I enter another chapter of my singing career with a new title: Producer. I did not take the task lightly for I wanted to create my best album yet by capturing the nuances of the sublimely complicated subject known as Love.

This project came to life during January 2015 in NYC at a jazz conference hosted by my publicist. He introduced me to Hendrik Meurkens, the harmonica player extraordinaire. Hendrik volunteered that he would be performing in California in April, so I invited him to record with me during his trip. Three months later on April 20th, he joined me and my other musicians at United Recording Studio A in Hollywood where we were recorded by Al Schmitt.

I chose all of the musicians on this album for their personal styles and approaches to jazz. The accompanying work of pianist Bill Cunliffe is a vocalist’s dream for he offers the perfect support needed to let the singer and song fly. John Chiodini, a fantastic guitarist who worked with Peggy Lee for years, has become a beloved new friend. We get along musically so very, very well and I could not imagine doing another album without him. Chuck Berghofer offers top drawer bass lines and easy swing that added so much to these songs. Ray Brinker, our drummer on nine of the songs, offered great support and creative dynamics; he was a jewel to work with on this album. Percussionist Brad Dutz was one of the most enthusiastic musicians. The “tools” he brought to create imaginative images and illusions added a third dimension to every song. The contributions of Bob McChesney are outstanding. This is the second time I have engaged Bob (he is on my album Lost In Romance) and I do not know of a better trombone player anywhere. Hendrik Meurkens plays the sweetest harmonica, reminiscent sometimes of the famous Toots; but he has his own unique style that adds a tender, musical touch. He’s simply amazing. Cellist Cecilia Tsan made the songs on this, her first jazz album, come to life in a way that would not have been the same without her.

For Interludes, I looked for songs that express the many facets of love’s entrances and exits, pieces that struck a chord with me. I also consulted with my trusted confidants including vinyl music critic Michael Fremer and jazz journalist Scott Yanow, asking their unbiased opinions of my ideas. Initially, I wanted to perform duets with different instrumentalists but, as the songs unfolded, they developed their own character and instrumentation based on ideas generated by the demo team.

I am grateful to Steve Rawlins, John Chiodini, Paul Kreibich, Dominick Genova and Bob McChesney for their time during the demo session when the album was truly formed, and for helping me decide which material to keep or discard. After that, the ideas were given to Steve, John, Tamir Hendelman, and Bill Cunliffe to write the final musical roadmaps.

Within these liner notes I have integrated some of the comments jazz critic Scott Yanow mentioned in his review of Interludes. I took a “gutsy move,” according to Scott, by beginning the album a capella. Starting the recording that way is a risk, but also a creative twist I felt compelled to try. The song’s arranger agreed to my plea to begin with a rubato (free form) vocal. Glad we did.

The pieces on Interludes came to me from different sources. “Boulevard of Broken Dreams” was suggested by a friend who said that it would be good for my voice. This 1932 song about the Parisian nightlife of the day hit home with me. I could transpose the characters to my own experiences living in Hollywood, California when I recorded my first album a few years ago. The streets of Hollywood are lined with hopefuls, many of whom sing a song or dance. Alas, most of their dreams never come to fruition. I instinctively knew that a cello and harmonica would be beautiful on this song. I also wanted to perform originals written by famous singers about their own troubles with love such as Billie Holiday’s “Don’t Explain” and Frank Sinatra’s “I’m A Fool To Want You.” In addition, Duke Ellington’s “In A Sentimental Mood” was a natural choice for the album. I did it in his original key, which is something that you typically do not hear from a female vocalist. “More Than You Know,” was a must. It is my mother’s favorite song and one that I am sure reminds her of a challenging but deep love in her life.

I also listened to many popular female jazz vocalists who record today. I decided to cover a few of the same standards that they perform but adding something different. For example Cole Porter’s “Just One Of Those Things” has lyrics that convey the dismissal of a superficial relationship. It was given an arrangement, at my request, that builds up gradually, culminating in the middle before dropping off (or musically dismissing) the players at the end.

Another friend heard Nat King Cole’s version of “I Was A Little Too Lonely” on the radio and requested that I record it. He is a dancer and liked the swing nature of the song. I typically add a fun and saucy tune to each of my albums and this one fit the bill. Composer Artie Butler, who has become a special friend, suggested 1992’s “It’s Crazy” which he had composed with Sammy Cahn. It was Sammy’s last lyrics written before his passing in 1993. To my knowledge, this special song has only been recorded two other times.

After meeting Alan and Marilyn Bergman last February at a show that featured Alan, I decided to record their “Nice ‘n Easy.” They have had such a beautiful relationship and marriage. One of my arrangers then suggested “The Island,” a Portuguese classic translated by the Bergmans, I asked that the arrangement add extra bars between certain lyrics so that I could linger with the words. Also, it gave Brad Dutz a chance to create the atmospheric sounds of a beautiful isolated island scene where two lovers could meet and share themselves intimately.

The final stage of the album was the addition of four songs that featured the great keyboardist Mike Garson (who was David Bowie’s musical director) along with John Chiodini, Chuck Berghofer and drummer Paul Kreibich. We recorded these during a three hour session at Capitol Recording Studio A. I wanted to include some contemporary songs that dealt with the love’s makeups and breakups theme. I had heard a blues version of “Whole Lotta Love,” a song popularized by Led Zeppelin that begged to be reimagined as a jazz arrangement. It was masterfully created by John Chiodini. We recorded what was a totally spontaneous and perfect moment when all of the musicians came together freely and created something quite memorable. That same session produced “Last Tango In Paris“ which I first heard sung by jazz pianist-vocalist Judy Roberts during one of her California shows. Steve Rawlins created one of the best-ever arrangements of that tune for me. “Black Velvet,” came from my idea about creating a Beatnik-sounding feel to this song a la “The Pink Panther.” I am the co-arranger and the finger snaps by Steve are a tribute to one of my favorite vocalists, Peggy Lee.

The cherry on the cake for the project was the vocal help I received from Windy Wagner, known for her work as a singer on the TV show Glee. Windy coached me on some of the songs and, through her encouragement I developed new wings to fly higher in my vocal recording techniques.

My associate producers for the album, Paul Travenner, Steve Rawlins and Steve Genewick, were closely involved and caring about every aspect of the project’s success. Thank you! Many thanks to Al Schmitt for his wonderful work and advice. He mixed Interludes during the time that he received his star on the Hollywood Walk of Fame and I got to participate in the activities.

Personal thanks also to my family and friends who supported me on this project.

I am dedicating this album to my dear audiophile mentor, Bernie Grundman, who cares about my work and teaches me about audio and recording every time we are together.

And finally, I am very grateful to everyone who was involved in the album and especially to you, dear listener, I hope you enjoy Interludes and gain a deeper understanding of what love endures and the joy it can bring.

Lyn Stanley

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