FOR IMMEDIATE RELEASE
Los Angeles, CA: When sultry singer Lyn Stanley aims her attention on a topic, you can count on her to jump in with both elegantly clad feet. She immerses herself in research till she’s satisfied she can more than hold her own on the subject. These days, the Southern California-based jazz vocalist has her laser focus on another SoCal chanteuse, Julie London, a frequent presence on radio airwaves in the 1950s and ’60s with hits like “Cry Me a River.”
The upcoming Julie London-inspired project is the sixth release for vocalist Lyn Stanley, who was discovered in 2011 by the iconic pianist Paul Smith, a studio giant who was Ella Fitzgerald’s musical director and frequent collaborator over several decades. Lyn put out her first album in 2013, and since then has released four others to critical and popular acclaim. Her 2017 dual release, The Moonlight Sessions, Volume One andVolume Two, reaped glowing reviews and stellar sales—earning more than $200,000, a rare figure in the tiny independently produced jazz market. (Jazz overall accounted for only 1.2 percent of total music album consumption in 2017, according to Statista.com.)
In preparation for the upcoming sessions, Stanley is studying London’s timing, phrasing, musical preferences, and song selections. She’s also taking vocal training to forge greater understanding of London’s style. Lyn points out, “For delivery, it’s going to be my stuff, my way. But I want to understand her breathiness and laid back vocal technique. We both are known for our sensual delivery but the technique differs.”
A long-time Julie London fan, Lyn recalls: “I unknowingly had her songs in my repertoire, and when my first album came out and critics compared me to her, it was a pleasant surprise.” Julie London recorded dozens of albums and sold millions of singles; besides her vocal ventures, she also enjoyed a successful 50-year movie and television career that included the TV show Emergency! But despite her success as a vocalist, Julie primarily considered herself an actress rather than a singer.
For Lyn Stanley, understanding that mind-set is key to grasping London’s way with a song: “Julie London described herself an actor, not singer, and had to get in character as a way to decide how the music should be delivered,” Lyn notes. A project video link is here: https://youtu.be/Zx4kwNOtDxs
While both Lyn and London could be described as sultry and sophisticated singers, the upcoming session will be an appreciation, not an imitation. Not only will Stanley put her own distinctive stamp on material London performed—a set list, if you will—she has also compiled a list of tunes she wishes London had tried on for size. “I have an ‘I wish’ category—songs that were popular in that era that she missed, and most on my list are love songs like ‘It’s Impossible’and “Heard It Through The Grapevine.”
To date, the exact song lineup for the album hasn’t been set in stone, but in addition to the likes of “Cry Me A River,” listeners will be treated to timeless tunes covered by London such as sultry and swinging versions of “Sway,” “How About Me?” “As Time Goes By’” “Goody Goody,” “Summertime,” “Blue Moon,” and a bass-vocal version of “Bye Bye Blackbird.” Some of the versions will be in London’s song keys in keeping with a tribute.
In addition to acclaim for her velvety alto, choice of material, and her unique and personal approach to songs, Stanley’s attention to detail in the studio has garnered raves. This new project reunites Lyn with legendary recording engineer Al Schmitt, who has earned 22 Grammys, 160 gold and platinum albums, plus a star on the Hollywood Walk of Fame. Coincidently, Schmitt recorded Julie London during her Liberty Record label years.
Lyn can be counted on to surround herself in the studio with the crème de la crème of musicians. For this venture, she’s aiming for the intimate sound of piano, bass, drums, and guitar and percussion. The band lineup hasn’t been finalized, but anticipated musicians are ones used in Stanley’s past recordings include pianists Mike Garson and Christian Jacob, bassists Chuck Berghofer and Mike Valerio, veteran guitarist John Chiodini (who will be featured), percussionist Brad Dutz and two drummers including Paul Kreibich.
Always the perfectionist, Lyn looks forward to recording some of the tunes direct-to-disc; not only does she appreciate the sound the process yields, she also enjoys the challenge. “We’ll have Al Schmitt engineering it but our performance is critical. You have to be into the musical moment as there will only be chord change charts-no set arrangements. The pressure is on all of us to create our best performances. But, it’s a great format if we execute it well.”
Stay tuned for more details on this exciting project. Who knows, this could be the start of a great new series of tribute albums from the ever-creative Lyn Stanley.
“Lyn–I have seen you evolve from a very good vocalist to now among the MOST OUTSTANDING. You get top billing on KKJZ. The new album…is marvelous!!” –Saul Levine, Mt. Wilson Broadcasting Inc.
–Saul Levine, KKJZ, proclaims The Moonlight Sessions Volume Two“One of the best albums of the century!”
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Lyn Stanley, International Recording Artist
Click here for more information on how to get all four of Lyn’s analog mixed and mastered albums as R2R albums.
Six years ago, Lyn Stanley was a retired marketing executive wondering if she could pass muster for her church choir. Today, she’s an internationally known jazz vocalist whose award-winning audiophile recordings feature A-list musicians, producers and engineers.
While Stanley has carved a niche in the high-end world, her albums go far beyond clinical speaker-testing tools. They practically ooze a lush, emotional atmosphere that only happens on those rare occasions when great players are allowed to stretch out in a relaxed, inspired setting. Add to that a tasteful, intelligent singer who practically has “sultry” permanently appended before her name, and you have a very attractive package.
If you have visited a major stereo show recently, you already may have bumped into Stanley, either performing, autographing records at a retail booth or roaming the halls with a stack of her own vinyl LPs cradled under her arm. In fact, the singer likes nothing more than to pop into demo rooms and pit her unamplified pipes against her recorded voice on $100K-plus systems.
“It’s not that easy,” she said in a telephone interview from her home in Los Angeles, laughing at the mention of her impromptu mini-concerts. “You have to concentrate on the music and stay on pitch. Those systems are really good.”
Learning as you go
Audio show appearances are just a small part of Stanley’s exhaustive, all-encompassing DIY approach to mounting a late-bloomer career in an increasingly difficult business.
Unlike some younger performers, no corporate executive “discovered” Stanley and plotted her career path. Instead, jazz singing was something she came to almost accidently, but decided to pursue with the same determination and competitiveness she used to reach the top of the marketing industry and, later, to become a champion ballroom dancer.
So far on her three albums, Stanley has applied her expressive phrasing and extraordinary vocal and emotional range to selections from the great American songbook and some newer fare, including the occasional Led Zeppelin tune. Musical comparisons to Diana Krall are inevitable, but Stanley is no imitator.
“Lyn is a really good singer,” said Al Schmitt, a recording engineer and producer who’s won 23 Grammy Awards and is one of Stanley’s hand-picked collaborators and mentors.
“I’ve worked with all the best — Frank Sinatra, Barbara Streisand, Sam Cooke. She (Stanley) definitely has the talent. Early on, I just tried to instill confidence and give some advice. She’s like a blotter — she just soaks it all up.”
Schmitt spoke to me from his car, on the way to a session by, as synchronicity would have it, Diana Krall. To offer proof of Stanley’s abilities as a quick study, he pointed out that she took over the producer’s chair after making only two records.
That observation illustrates the key thing you need to know about Lyn Stanley: Whether she’s fine-turning an arrangement, designing an album sleeve or planning a vinyl pressing, Stanley always is asking: “Is this the very best it can be?” The singer admits she’s been this way all her life.
Working for a living
Stanley was born in Tacoma, Washington. He father was a traveling salesman who was a self-taught amateur jazz pianist. He occasionally participated in unpaid gigs at jazz clubs and played when he was home, which wasn’t often. Her grandfather was an opera singer. She also had an uncle who was a tenor in community theater productions. Other than that, there were no serious musicians in the family.
Stanley initially pursued advertising, handling accounts for companies including Mattel, Hilton and Midas. After 10 years, she shifted to a series of strategic marketing jobs at some of the profession’s biggest firms, including Ogilvy and Mather. Later, she embraced the digital revolution, devising sophisticated online strategy for WebMD and Macys.com.
Still hungry to do more, she got a master’s degree, began work on a doctorate and started teaching marketing.
While working on her Ph.D. and raising two boys, however, she was diagnosed with pre-uterine cancer. She dropped out of the graduate program in 1995 and began researching her condition with the same laser focus she had applied to her business career.
“I didn’t know how much longer I was going to be on the planet,” she recalled. “I wanted to spend more time with my kids. So, I sought out a top uterine cancer doctor, who was at Emory University in Atlanta. I had the surgery and, thankfully, they got it all.”
After breathing a sigh of relief, Stanley decided it was time to “give herself a break” from her demanding career and take her mind off a recent divorce. She had become interested in ballroom dancing while in the doctoral program, and threw herself into that as therapy.
“It was clean fun,” she explained. “Nobody was drinking, and I enjoyed the competition.”
Stanley, as usual, was a fast learner, excelling in waltz, foxtrot, tango, Viennese waltz and quickstep.
Then life threw her another curve. In 2005, her car slid off an icy road and she sustained serious head and leg injuries. Even through she lost two-thirds of one calf muscle, she battled back, determined to return to the ballroom.
Five years later, she not only was back on the floor, she was dancing better than ever. In 2010, Stanley entered three dancing events and won them all to become a USA National Pro/Am DanceSport Open Gold Champion. A month later, she captured third place in the world in an Open Gold Championship competition.
In 2010, she decided to retire from her career, feeling she had accomplished all she could. It was time for a new challenge. But for a person who always had meticulously planned her next move, the future suddenly was a blank slate.
“I found myself thinking, ‘If I stop the train now, then what?’ ” Stanley said. “There was dancing, but I already had reached the highest level there, too. So, I started looking for something else.”
After attending church one day, Stanley’s mother told her she should join the choir.
“Mom had been listening to me as I sang along during the service,” Stanley said. “She told me I had a nice voice, but I wasn’t sure it was good enough.”
Not long after, Stanley attended a party at a hotel and was going down the elevator when someone mentioned a jazz musician was performing nearby at a fund-raising event.
“I decided to check it out. There was a gentleman at the piano. I sat down on the back row, but as he played, my ears just went nuts. I kept moving up until I was on the front row. I loved it.”
The pianist was Paul Smith, who she later found out had been Ella Fitzgerald’s longtime conductor and arranger, and also had backed such stars as Bing Crosby, Mel Torme, Anita O’Day, Sara Vaughan and Bennie Goodman. Stanley got up the nerve to approach him as the event ended and told him about her modest church ambitions.
It turned out that Smith’s wife, Annette Warren, was a vocal coach. Stanley scheduled a session with her. At the time, Warren was 89 and, just as her husband, had worked with many singers. It was an imposing situation.
“I went to their home and saw these two big grand pianos,” Stanley said. “I was shaking in my boots. I told her, ‘I just want to see if I have the ability to sing in the choir.’ ”
“Annette asked me to start with some scales. I said, ‘What’s are scales? Aren’t those on a fish?’ She had some sheet music, but I didn’t know how to read it. She asked my what key I liked. I had no idea what a key was.”
Warren finally suggested just starting with a familiar song. Stanley, who had always enjoyed listening to jazz artists, began singing George and Ira Gershwin’s “The Man I Love.”
“After about 16 bars, Warren stopped me. She got off her piano bench, disbelieving, and said, ‘You don’t know you can sing?’ She thought I was joking.”
Warren immediately scheduled intensive lessons with Stanley four days a week. Just a few months later, on Feb. 13, 2011, Smith invited the novice to sit in for seven songs on a gig with his band.
“He didn’t do that with very many people,” Stanley noted. “It was terrifying. I was worried I would forget the lyrics.”
The singer overcame her nerves, though, and the performance got a great response from the crowd. Stanley had the performance taped, and entered it in a worldwide competition. Twenty-seven finalists were selected to train at Yale University, learning how to put on a show from professionals such as Amanda McBroom. Smith backed Stanley at the culmination of the program.
Gaining confidence, the singer began thinking about taking the next step — making a record. And she pursued it in typical Lyn Stanley fashion.
While many aspiring vocalists pull together a few amateur musician friends and often just have a local engineer capture a live performance on the cheap, Stanley had a different and probably unprecedented plan for a beginner in her 50s.
“I looked though all the albums of the singers I really liked and wrote down the names of the players,” Stanley said. “I also looked at where the albums were recorded, and who engineered and produced them.”
Those albums happened to be by people like Barbara Streisand, Michael Buble, Diana Krall, Frank Sinatra, Shirley Horn and Rosemary Clooney. An industry consultant she spoke with mentioned that another name she should know was Al Schmitt, who had recorded many successful LPs by those artists. Told he was still working, the budding singer bravely gave him a call
Soon, Stanley was in the studio recording her debut, “Lost in Romance,” with Schmitt mixing, Tommy Vacari recording, Steve Rawlins producing and session pros like drummer Jeff Hamilton and guitarist Thom Rotella. She picked the song list, too, which was heavy with standards such as “Change Partners,” “That Old Black Magic” and “The Nearness of You.”
Schmitt did his mix at Capital Studios in Hollywood, giving Stanley the same kind of vocal presence, wide soundstage and air between the instruments that he’d provided for Sinatra. And the virtuoso band she hired laid down a tasteful backdrop that conjured what you might hear after midnight in a small club, when players are improvising and simply enjoying making music, rather than trying to achieve a slicker commercial sound.
Smith heard the masters and was very proud of his protege.
“Paul Smith told me, ‘I hope to be around for your tenth album,” Stanley remembers. “He died the next month.”
The singer now faced the task of getting her album out in the market.
It probably needs to be stressed at this point that Stanley plunged into the project without a record deal, a manager or even a benefactor. She was hiring the crème de la crème of the jazz world and pressing thousands of records — all on her own dime.
“I was draining my 401(k), basically, to get it made,” she said.
The master of mastering
Schmitt and Vacari told Stanley she should get a good mastering engineer. The singer wasn’t sure what mastering was, but she asked who was the best. She got two names. Bernie Grundman was one of them.
Stanley didn’t know it then, but the man she was contacting was world-renowned not only for mastering jazz albums, but also for putting his sonic imprint on some of the best-selling — and best-sounding — pop and rock records of the past four decades. The neophyte vocalist’s chutzpah in hiring him not only allowed her to create a stunning first album, it also helped steer her toward what has become her core audience.
“Bernie talked a lot about sound quality. He was really into high-resolution recordings,” she said. “And, when we were mastering the record, he told I should think about putting it out on vinyl. I said, ‘They still do that?’ ”
Grundman said he was impressed with the quality of Stanley’s debut album.
“I told her, ‘I really like what you’re doing here musically. I like your voice. You have the best players in town and a mix by Al Schmitt, who’s known for capturing a very natural sound. This could appeal to the audiophile market.’ ”
High-end audio was another unfamiliar area for Stanley, but she always had enjoyed listening to her father’s stereo. She took Grundman’s suggestion and began to learn all she could about modern high-fidelity reproduction.
“I told Bernie I wanted to do the vinyl, too, and he said I should go 180-gram, 45-rpm,” the singer remembered. “I just said, ‘I don’t know what you’re talking about, but I’ll find the money somewhere.’ ”
Grundman also recommended she pack up some copies of “Lost in Romance” and take them to a high-end audio show. So, Stanley showed up in Denver for the 2013 Rocky Mountain Audio Fest. Ever the one-woman marketing whirlwind, she took her LPs room to room and asked exhibitors to play them. Their reactions were encouraging.
Stanley began selling her albums through her own website, CDBaby.com, Acoustic Sounds, The Elusive Disc, Amazon.com, BestBuy.com, Target.com and other retailers.
Stoked by the enthusiastic response to her debut — particularly in the audiophile segment — she made even bigger plans for her second LP. This time, Stanley recruited names like percussionist Luis Conte, pianist Bill Cunliffe and drummer Joe LaBarbera. She chose standards made popular by some of the best-known jazz singers to create a Sinatra-style concept album, “Potions: From the ‘50s,” which was released in 2014.
Schmitt and Grundman were back on board, with Kenny Werner producing. This time the LP was both recorded and mixed at Capitol Studios. Stanley used 2-inch tape and 24 tracks to recreate the studio environment as it was in the 1950s.
“I was able to sing with Frank Sinatra’s microphone, too,” she said. “They keep it locked up, but Al was able to get it for me. It’s a Neumann U47. Of course, the tubes had been replaced, but Capitol had found the exact types as the originals.”
“Potions” expanded Stanley’s visibility, especially among stereo enthusiasts, as the record became a familiar demo tool in show rooms — even those the singer hadn’t personally visited.
Making album No. 3
With just two years of recording experience and not much more under her belt as a performer, Stanley cut her third self-financed album, “Interludes,” in 2015. While her first two LPs were produced by seasoned professionals with Stanley as executive producer (“which meant I was paying the bill”), this time she took sole creative leadership.
Stanley also added some more well-regarded players to her roster, including pianist Mike Garson, known for his work with David Bowie, as well as recording several audiophile jazz albums; and guitarist John Chiodini, who supported Peggy Lee for many years.
“Interludes” shows just how much Stanley has learned in a short time. While her first album was impressive, especially for a newcomer, and her second improved on that, the latest record displays a polish and sophistication other artists take decades to achieve — if ever.
Stanley also brings a deft touch as a producer, resisting the urge to clutter the sound or overreach in arrangements. Her song choices also are inspired, ranging from standards such as “More Than You Know” and “Boulevard of Broken Dreams” to more adventurous, but still jazzy, takes on newer compositions like pop hit “Black Velvet” and “Whole Lotta Love” (yes, the Led Zeppelin song, which she turns into a sexy, swinging romp).
Garson said Stanley impressed him during the sessions with her talent, drive and musical instincts.
“Lyn is a hard worker,” he said via email during a break from his international David Bowie tribute tour. “She has a vibe, and a way of conveying these standards with a certain conviction.”
Stanley knows what she wants, whether she’s behind the microphone or the mixing board, he said.
“She has a clear vision and a lot of integrity,” he said. “She’s a good producer.”
SACD, tape and vinyl
While Stanley now is comfortable with the recording process, she also has become well-versed in the audiophile market. She issued “Interludes” as a limited-edition hybrid SACD and, even more surprisingly, offered that album and “Potions” on quarter-inch tape.
“As I attended the shows, I could see reel-to-reel was coming back,” Stanley said.
Grundman pointed out that the vocalist paid to get one-to-one dubs of her record for the tape release, rather than making multiple copies in a single run.
“It’s expensive to do it this way, because that’s a lot of studio time. But it gives you the best fidelity,” the mastering engineer said.
Stanley cut her first album digitally. Since then, though, she has insisted — except for a few experiments — on analog recording.
“I don’t believe in going digital and then using that to make a reel-to-reel tape. I won’t do it. It should be analog all the way through,” she said.
Stanley also takes special care with her vinyl pressings.
“I pay extra to have the stamper replaced every 300 copies, instead of every 500. And it also costs me more to have the copies numbered exactly in the order they are produced. A lot of times, the copy labeled No. 1 wasn’t really the first one stamped.”
Stanley is now working on her next project, a two-album set she’s calling “The Moonlight Sessions.” Being the restless spirit she is, Stanley has carefully devised an ambitious plan to break some new musical ground.
“I’m going to combine jazz standards with classical music,” she explained. “For instance, we’re going to do (Antonio Carlos) Jobim’s “How Insensitive” merged with Chopin’s “Prelude in E Minor.”
It may be hard to wrap your head around that concept, but a demo I heard from rehearsals sounded sublime. Garson and Chiodini will co-produce with Stanley.
The singer hopes to release the first volume in the series, tentatively titled “Moonlight Serenade,” at High End Munich in May. A very limited run of vinyl will be cut using the one-step process (see sidebar).
Stanley already is gearing up for maximum market impact. The singer market-tested cover art on her Facebook page, and she’s been doing focus groups with audiophiles to see what formats they are interested in.
“Limited-edition versions, numbered records, vinyl, tape, SACDs,” she said, listing some of the responses. “And I’m probably going to be doing high-resolution downloads on a site I’m developing.”
The working title for a second volume is “Moonlight and Love Songs.” It should follow later this year.
The singer also has created The Lyn Stanley Society, which rewards members with exclusive updates and offers on new projects, as well as other perks.
As if all that weren’t enough, Stanley is working on a book on her life, and has a busy schedule of appearances and audio shows on her 2017 calendar. In fact, Stanley recently announced she will be giving a talk on making great-sounding records during AXPONA, April 21-23 in Chicago.
Making a name
The singer also is hoping to expand her brand awareness among both high-end audio fans and non-audiophiles. She’s aware that, although she certainly presents an alluring image and has the pipes to match, there is rampant ageism in the entertainment industry. Stanley, now in her 60s (although you wouldn’t guess that), has no expectations of getting invited on mainstream TV programs such as “The Tonight Show,” which favor the latest auto-tuned millennial faves.
“The audiophile market is great, but it’s so small for the music industry,” she said. “And jazz itself only made up 1 percent of all domestic record sales last year.”
There’s a pause in our conversation. Even over the phone, I can hear the gears whirring in Stanley’s head. Can she apply her famous iron will and marketing savvy to what may be her biggest challenge? I wouldn’t bet against her.
“It’s been an uphill battle, and I’ve made a few mistakes along the way,” she said. “You have to be willing to put your head on the table and get it cut off. But I’ve enjoyed working with some great people and I’ve made a lot of headway. So far, I’ve sold 31,000 albums, and I still don’t have a manager. I’m doing it all myself.”
Finding a booking agent would help in reaching her next goal, which is to tour more extensively after the initial “Moonlight Sessions” LP is released.
“I’ve got more visibility now that I’ve recorded a few albums,” she said. “I want to put a trio together and hit the road.”
An, finally, she wants to get a serious high-end stereo of her own.
“I’ve played my music on so much great equipment. I’ve really become an audio geek and dream of someday having the perfect system at home.”
Looking for more on Lyn? Check her out at http://lynstanley.com/.
“Audiophile’s jazz singer of the decade” creates her new 2017 project The Moonlight Sessions with the highest level of quality in today’s musical recordings.
THE MOONLIGHT SESSIONS PROJECT-
FIVE STARS *****
Lyn Stanley redefines what a ‘song stylist’ is, June 18, 2017
This review is from: The Moonlight Sessions, Vol. 1 (MP3 Music)
Wildly popular Southern California vocalist Lyn Stanley’s new project ventures into new musical territory with her creative approach to American music. This time, she’s borrowing from the classical composers–Chopin, Beethoven, Debussy, Mozart, and Ravel to breathe a new excitement into a few jazz standards like you’ve never heard them before. This series begins with this Volume One. She has also added songs to this special project from the country and pop genres and added arrangement twists with jazz applications that modernize them as they delight your ears. Lyn delivers every song with the finesse and confidence of a veteran song stylist – and she is only a few years into her vocal career.
The ensemble is 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, and Hendrik Meurkens – harmonica.
The tracks are as follows: All of Nothing at All, Willow Weep for Me, Moonlight Serenade, My Funny Valentine, Embraceable You, Why Don’t You Do Right, Girl Talk, Crazy, Close Your Eyes, How Insensitive, Break It to Me Gently, and In the Wee Small Hours.
The lady steams with talent and surrounds herself with the very best musicians and arrangers in the business. A total Winner! Grady Harp, June 17, 2017
She has also added songs to this special project from the country and pop genres and added arrangement twists with jazz applications that modernize them as they delight your ears. On board for The Moonlight Sessions are her stellar cast of musicians. Piano: Mike Garson, Christian Jacob and Tamir Hendelman; Bass: Chuck Berghofer; Drums: Joe La Barbara, Ray Brinker and Bernie Dresel; Jazz Guitar: John Chiodini; Percussion: Luis Conte; Harmonica: Hendrik Meurkens; Harp: Corky Hale, Carol Robins; Trumpet: Chuck Findley; Trombone: Bob McChesney; Tenor Sax: Rickey Woodard are all on board and recorded. This project’s arrangers include, Mike Garson, Christian Jacob, Tamir Hendelman, John Chiodini, Steve Rawlins and Doug Walter. Lyn Stanley is the Executive Producer with Co-Producers Lyn Stanley, Mike Garson and John Chiodini.
The recording engineers for this project are Al Schmitt and Steve Genewick. Tracks were recorded at The Village Recording Studio D in Los Angeles, California in February 2017.”
Volume One: (RELEASED May 30, 2017) click here.
Volume Two: (anticipated release August 2017) click here.
To see a video of the recording sessions for the Moonlight Sessions click this link:
Lyn Stanley’s SuperSonicVinyl™ is a superior quality vinyl, utilizing state of the art mixing and mastering techniques, from top engineers and studio boards, and combined with top rated master engineering and ONE-Step experienced pressing plants we create what we believe is the ultimate in sounding records.
About the ONE-Step process: This process was used often in the early days of vinyl. But when mass vinyl production was needed, the manufacturers had to create more cost effective means to make vinyl copies and the “three step” process was the new standard.
To make a vinyl record, you need a “Negative Source” to imprint the vinyl grooves. The industry standard today is a THREE-step lacquer process designed to create the largest number of records from one lacquer (they are expensive to create). To do this three steps are required–from the lacquer (positive source) STEP ONE: make a “Father” (a negative source), STEP TWO: create a Mother from the Father (positive source) and then STEP THREE: create “Stampers” (negative source) from the “Mother.” This way the “Father” does not get used very often and is the most preserved “negative source.” However, the record you listen to is three steps removed from the original mastered lacquer and can grab hissing, or subtile glitches that affect the sound recording on your system. The ONE-Step method takes the “Father” from the original lacquer and that is what will create your vinyl record. Some “Fathers” only last for 100 pressings, others have gone to 1000. It depends on the processing and original lacquer quality. Once the Father is no longer able to make a great recording, it must be destroyed and no other albums can be created from that original lacquer.
Lyn Stanley’s latest project, The Moonlight Sessions, has been recorded at The Village Recording Studio in Los Angeles with Al Schmitt as lead engineer for two of the three days of tracking and Steve Genewick as engineer for the third day’s “Harmonica Sessions.” This project will be released initially in two volumes in 2017–the first is anticipated for May 2017 delivery with a One-Step vinyl process Limited Edition Pressing. If interested in ordering this go the Moonlight Sessions Project ordering information on Lyn’s Online Store on her website or contact email@example.com for more information.
December 2016- Lyn Stanley wins Global Music Silver Award for Outstanding Achievement in Best Female Vocal and Best Album categories competing with over 350 entries for her “Interludes” album submission. Lyn was also nominated for Best Jazz song with the HMMA for her Interludes song “Whole Lotta Love” featuring musicians Mike Garson (piano), John Chiodini (guitar), Chuck Berghofer (bass) and Paul Kreibich (drums).
FOR IMMEDIATE RELEASE
Los Angeles, California-December 16, 2016: It is no news to most that today’s jazz album sales represent less than five percent of all music sales according to Nielsen and some writers speculate it’s about two percent. But here’s one jazz vocal newcomer that’s making a difference. She’s reporting more than 30,000 album sales in the last three years with three albums on the market and another project on the way.
The newest chapter in the remarkable career of jazz vocal recording artist Lyn Stanley is her upcoming recording, The Moonlight Sessions, with Volumes One and Two anticipated release in the spring and fall of 2017. The project will offer classic jazz standards hybrids with classical music-she’s combining Chopin with Jobim’s How Insensitive -and offering new perspectives on pop songs including “At Seventeen” a 1970s hit by singer/songwriter, Janis Ian, and rarely, if ever, covered.
Recognized as “a force to be reckoned with in sultry jazz,” Lyn Stanley became an “overnight” worldwide unsigned artist sales success story and now famous for going first-class with her productions. The Moonlight Sessions is certainly no exception. Volumes One and Two of The Moonlight Sessions will feature songs tying classical music with jazz (think Beethoven, Debussy, Chopin, Ravel and Mozart) this includes “Angel Eyes,” “Over The Rainbow,” “That Old Feeling,” “The Summer Knows” and a “souped-up” version of Patsy Kline’s hit “Crazy” –all Stanley’s idea. Mike Garson, Tamir Hendelman, Christian Jacob, John Chiodini and Doug Walter took Stanley’s lead and offer some creative and fresh arrangements.
Lyn Stanley’s vocals are planned to be joined by an array of jazz greats: pianists Mike Garson, Christian Jacob and Tamir Hendelman, guitarist John Chiodini, bassist Chuck Berghofer, drummer Joe La Barbara, percussionist Luis Conte and other soloists including harmonica maestro Hendrik Meurkens, tenor-saxophonist Rickey Woodard, and trumpeter/trombone player Chuck Findley along with a swing string section. The 23-time Grammy winning Al Schmitt will be at the engineering command station recording the tunes at United Recording Studio (formerly Ocean Way) in Hollywood California. Bernie Grundman is the mastering engineer. Arranger Sammy Nestico (and Lyn Stanley fan) gets the album dedication based on his contributions and encouragement of her career.
Lyn Stanley has become a skilled producer and involved in every step of her high end productions making certain that her albums have both superb music and sound by overseeing the recording, mixing and mastering of her music. The result: her recordings are not only highly rated musically but are prized possessions in the audiophile market as 45RPM Vinyl, SACDs, high resolution downloads, and 15ips reel-to-reel tape. Almost singlehandedly, she is responsible for her recordings becoming best sellers around the world with top marks for sonics as audiophile reference recordings-the gold standard in this industry. She’s also been CDBaby’s Top 100 Seller and #1 Jazz Vocal for each of her albums. They carry over 600,000 titles.
In just three years, Lyn Stanley’s music has gained the attention of jazz music critics from Asia to Australia and Europe, applauding her style reminiscent of jazz golden era singers like Peggy Lee, Julie London and Sarah Vaughan. Discovered in 2011 by the late jazz legend pianist Paul Smith (known best as Ella Fitzgerald’s accompanist) she has grown as a singer to the point where Stereophile magazine named her “The Audiophile Jazz Chanteuse of the Decade.” Her previous jazz vocal recordings include, Interludes (2015), Potions [from the 50s’] (2014) and her 2013 debut release, Lost In Romance. She’s not alone is beginning with this group of music lovers, singer/songwriter Norah Jones began with them before her career took a turn to the larger pop music market.
A melodic singer known for her unique sultry alto multi-colored toned voice and a love for the timeless material via new twists in the jazz arrangements she orchestrates. Gaining a reputation as a “musician’s singer” Stanley has gained respect for her fresh approach from pop to standards ranging from Zeppelin’s “Whole Lotta Love” to the classics like “Fever.” Big band arranger known to like arranging for quality singers, Sammy Nestico, recently wrote about her to a colleague, “What a thrill to work with such great talent!”
Lyn Stanley begins vinyl pre-orders for The Moonlight Sessions in December. She has also opened an exclusive club with slots for 100 dedicated fans called The Lyn Stanley Society. This club will offer some interesting opportunities for sound recording enthusiasts interested in learning more about the recording. mastering and pressing plant processes. These exclusive club members can attend a recording or mastering session or participate in a blog where they will be given “a behind the scenes” view of how her music is made and receive advanced copies of the final work. More information about Moonlight Sessions can be found at www.lynstanley.com or contacting firstname.lastname@example.org.