The CD marks my first encounter with singer Lyn Stanley, but I hope it is not my last. She sings spot-on key, phrases with practiced ease, and simply interprets this set of juicy songbook goodies in such a way that one knows she has done her homework. Her accompaniment, by a variety of Los Angeles jazz stalwarts, includes Bill Cunliffe (piano), Chuck Berghofer (bass), Ray Brinker (drums), Hendrick Meurkens (harmonica), and a number of others.
While waiting in line for the beginning of the ‘Monster’ concert of the’ Jackson Four ‘at the entrance to the auditorium of Casino Planet Hollywood in Las Vegas January 6 J.L. I was waiting with Danielle de Kock and Michel Keyner (Audifile.com) and I met Ken Kessler against in the company of an unknown to me lady. Ken introduced her to me and she turned out to be a singer and gave me this SACD. I promised not to pay attention to my column; deed of. And with great pleasure. What a find!
After the success of two previous recordings comes this album Interludes by singer Lyn Stanley along with the new band to celebrate the nuances of a complicated subject which is love, as she writes in the liner notes. And so with the help of critics Michael Fremer and Scott Yanow goes fishing in the enormous wealth of American music, not just the older classics by George Gershwin, Cole Porter, Al Dubin, but also throwing in a 180 degrees into contemporary.
Once again Lyn Stanley makes it evident that when it comes to sultry jazz singing she is a force to be reckoned with. First there was her exciting debut album Lost in Romance which set a hell of a bar for a first attempt. Potions, her collection of songs from the ‘50s, raised it another notch. Expectations for her newest release were high and Interludes meets those expectations in spades.
But the major credit must go to Ms Stanley’s radiant vocal artistry. Her flawless intonation and sumptuous warmth combine with a full bodied resonance whether in the darkest deep tones a la Sarah Vaughan or the penetrating register where Dinah Washington lived. Her lyrics – precisely enunciated, perfectly phrased and vividly rhythmic – tell her stories not only through the words, but in the emotional content with which she sings them.
“On another album reviewed here a few months ago Lyn Stanley chose her repertoire from songs composed in the 1950s. On this, her third album, Lyn has delved a little further back in time for many of her songs. Although some of these are familiar, they are given interpretations that render them new and fresh while remaining true to the original intentions of composers and lyricists.”
The overall audio quality of this stereo SACD is excellent. Stanley’s vocals have a silky depth. The instruments are captured with acoustic crispness, whether it’s the trombone or a low-keyed cello…
Her delivery has a perfect ability to know when to accentuate the positive and eliminate the negative, going crisp and clear and then drifting away like a paper boat. A study of moods here fitting any Impressionist art gallery.
Listening to Interludes (A.T. Music – 3104) by LYN STANLEY, you would expect that she has been singing professionally for more than five years, but that is the reality. Having a cast of first call Los Angeles musicians enhances her natural talent, with the likes of pianists Bill Cunliffe or Mike Garson, bassist Chuck Berghofer, drummers Ray Brinker or Paul Kreibich and guitarist john Chiodini, and occasional contributions from Bob McChesney on trombone, Henrick Meurkens on harmonica, Brad Dutz on percussion and Cecilia Tsan on cello.
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.