Label: A.T. Music – 180 Gram Virgin Vinyl – Pressed at QRP
AAA 100% Analogue – Mastered By Bernie Grundman
1000 Numbered Copies Limited Edition
This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
TAS Super LP List! Special Merit: Informal
Even the sound, is absolutely stunning as it was on the first two albums Bernie Grundman mastered and cut lacquers at 45rpm. Pressing was at QRP. The album is also dedicated to Bernie, who Lyn calls “the father of audiophiles.” I knew something was up there, because so many of us look just like Bernie! Now I know why.It’s important to remember that these three costly Lyn Stanley projects, recorded and mixed to analog tape and featuring top musicians, arrangers and engineers and released in deluxe editions on vinyl, hybrid SACD and even one-to-one 15IPS tape copies were funded in full by Lyn Stanley, whose determination and perseverance should be an inspiration to all-regardless of what is your personal dream. Ms. Stanley is living hers and obviously enjoying it to the fullest. At least that’s what it sounds like on this breakthrough album that could find its way over the audiophile ghetto walls. Sound 11/10 Music 9/10 Michael Fremer Analogue Planet
This album was mixed from 24 track 2 inch ATR tape by Al Schmitt .
All songs were mastered from ½” analog tape by Bernie Grundman.
(Recorded at United Recording Studio A, Hollywood, CA)
Vocals Recorded with Neumann U47s (#4-Frank Sinatra’s microphone courtesy of Capitol Recording Studios) and LAFx.
Recording Studios for vocals: Capitol Recording Studios A & B, Big City Recording Studio and LAFx
Lyn Stanley has been awarded Female Jazz Vocalist of The Year 2018 from one of the most visible public radio stations in the USA, KKJz-Los Angeles who have the highest Nielsen ratings for jazz radio audiences in the U.S.
This album was mixed from 24 track 2 inch ATR tape by Al Schmitt (except for #14). All songs were mastered from ½ analog tape by Bernie Grundman.
“Even the sound, as absolutely stunning as it was on the first two albums, is up by a considerable margin–something I didn’t think was possible. The stage is wide and deep; the instruments remarkably transparent and three-dimensionally solid.” – Michael Fremer, Analog Planet, 9/11 Music, 11/11 Sound!!
“In a little over three years Stanley has definitely made her presence felt in audiophile and jazz vocal circles… Her cover of Led Zeppelins Whole Lotta Love, she explained, was just a loose run-through that, when played back, made fine-tuning seem superfluous. Her talk was so illuminating that Ive returned to Interludes with a fresh appreciation.” – Jeff Wilson, The Absolute Sound
“Lyn Stanley’s recent Interludes is her most adventurous and exciting recording yet. … the use of guests and the inventive arrangements of Cunliffe, Chiodini, Tamil Hendelman, Steve Rawlins and Ms. Stanley herself keep the music full of subtle surprises and variety.” Scott Yanow
“Once again Lyn Stanley makes it evident that when it comes to sultry jazz singing she is a force to be reckoned with… Expectations for her newest release were high and Interludes meets those expectations in spades.” – Jack Goodstein, Blog Critics
The unique sultry jazz vocalist from the Los Angeles area turns up the wattage on Interludes, starting with the opening selection “How Long Has This Been Going On” a capella. “Just One Of Those Things” employs a creative Bill Cunliffe arrangement Stanley is heard during one chorus having brief duets with bassist Chuck Berghofer, guitarist John Chiodini and pianist/arranger Bill Cunliffe before the full group joins in. Other tuneful highlights include “Black Velvet,” “More Than You Know,” and “Boulevard of Broken Dreams.”
The lowdown and rockish “Whole Lotta Love” and the always eerie “Last Tango In Paris” find Stanley putting timeless feeling into more contemporary songs. Great guest artists such as Hendrick Meurkens on harmonica appear on “Don’t Explain,” and Stanley begets a fine swing on “Nice ‘n’ Easy” and a sweet and lush interpretation on Duke Ellington’s “In A Sentimental Mood.” Her interlude concludes with a heartfelt duet with guitarist Chiodini on “I’m A Fool To Want You,” that’s full of longing and desire.
A former USA amateur ballroom dance Pro/Am champion, Lyn Stanley’s unique voice has been described as “beautiful,” “Rich in low tones,” with “phrasing and storytelling that makes her music very personal.” Her dancing background adds a feel few artists can deliver. LA Jazz radio personality, Bubba Jackson, describes her as “the real deal – she has brought the songstress back to jazz!” She was discovered by world-class jazz legend, pianist Paul Smith best known as Ella Fitzgerald’s accompanist/conductor. Stanley has become known for her lush low notes, beautiful intonation, rich interpretations, and phrasing.
Her flawless intonation and sumptuous warmth combine with a full bodied resonance throughout her extensive range. 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, and with a grace and sensuality that coats every syllable she sings with a fluidity that is simply mesmerizing.