Lyn Stanley – The Moonlight Sessions, Volume Two (2017) DSF DSD128 + Hi-Res FLAC

Lyn Stanley – The Moonlight Sessions, Volume Two (2017)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 58:19 minutes | 4,6 GB
FLAC (tracks) 24-bit/192 kHz | Time – 58:19 minutes | 2,41 GB
Studio Master, Official Digital Download – Source: NativeDSDmusic | Genre: Jazz | ©  A.T.Music

Lyn Stanley, the Sultry Jazz singer of the decade, offers this collection of love songs where she’ll spins tales of love’s make ups and break ups. “The Moonlight Sessions” is the title of the newest chapter in Ms. Stanley’s remarkable singing career. With this project, Lyn creatively offers a number of jazz standards with classical twists together with refreshingly new takes on iconic pop songs. 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. He was involved in the development of this project from its inception.

Wildly popular Southern California vocalist Lyn Stanley’s new project ventures into new musical territory with her creative approach to American music. THer two most recent recordings are The Moonlight Sessions Volume One and Two. Each set features Ms. Stanley’s versions of timeless songs. Her group features Tamir Hendelman, Mike Garson or Christian Jacob on piano, guitarist John Chiodini, bassist Chuck Berghofer, Joe LaBarbera, Ray Brinker or Bernie Dresel on drums, and percussionist Luis Conte. There are also occasional contributions from trumpeter Chuck Findley, trombonist Bob McChesney, tenor-saxophonist Rickey Woodard, Hendrik Meurkens on harmonica, and the harps of Corky Hale and Carol Robbins. The arrangements of Garson, Jacob, Hendelman, Chiodini, Steve Rawlins and Doug Walter (with the singer’s assistance) add to the beauty and freshness of the music, sometimes interpolating classical melodies in surprising ways.

The Moonlight Sessions Volume Two begins with a saucy version of “Makin’ Whoopee.” Introduced in 1928 by Eddie Cantor, the song has survived a countless number of versions. Lyn prefers the subtle approach while retaining the humor of the famous lyrics. “The Very Thought Of You” was first recorded by its composer British bandleader Ray Noble in 1934. The laidback love song has been popular ever since. Lyn sings it with affection over a light bossa-nova background. A standard since 1937, “That Old Feeling” is usually given a straightforward treatment. However Mike Garson’s arrangement for Lyn has accompaniment by the strings of the Budapest Scoring Symphonic Orchestra and it includes a haunting bit of Ravel’s “Pavane” that Lyn wordlessly sings with beauty. “The Summer Knows” continues the jazz-classical connection found on many of these songs. The first movement of Mozart 40th Symphony fits in perfectly with the Michel Legrand/Marilyn and Alan Bergman song from The Summer of ’42 which Lyn sings with optimism. Debussy’s “Clare de Lune” played by Christian Jacob unexpectedly becomes part of Harold Arlen’s “Over The Rainbow,” reinventing the much-recorded song. As is true of many of these renditions, this atmospheric treatment, which includes some fine ballad singing by Lyn, is unique. Ever since Irving Berlin wrote “How Deep is The Ocean” in 1932 (an unusual song in which each line except for one is a question), virtually every important singer and many instrumentalists have sought to give the song their own spin. Beginning as a slow ballad, Lyn Stanley’s interpretation turns Berlin’s gem into a jazz waltz with a fine spot for trombonist McChesney. Matt Dennis’ most famous original, “Angel Eyes,” was cited by Ella Fitzgerald as her all-time favorite song. Lyn digs deep into the lyrics, Mike Garson takes a fine solo, and the strings add a bit of Beethoven’s “Moonlight Sonata” to the ensembles. Janis Ian’s “At Seventeen,” which has Carol Robbins’ harp behind Lyn’s vocal along with the strings, features the singer living the words and showing that this song ranks in quality with the earlier American songbook songs. Bill Carey and Carl Fisher’s 1941 song also recorded by Billie Holiday, Sarah Vaughan and Ella Fitzgerald entitled, “You’ve Changed” inspires a heartbreaking vocal by Lyn as she delivers the lyric intent with life experience acumen. Findley’s muted trumpet adds to the melancholy mood. The one standard written by Charlie Chaplin, “Smile,” benefits from being turned into a cheerful bossa nova. Lyn’s warm voice floats over the Brazilian background which includes harmonica and strings. A second and very different take of Jobim’s “How Insensitive” begins with a sensitive rendition of Chopin’s “Prelude In E Minor” by Christian Jacob before becoming a light bossa nova with Lyn giving a quiet but powerful treatment to the lyrics. Offering a contrast is a swinging rendition of “Love Me Or Leave Me,” a song made famous by Ruth Etting in 1928.Hendelman and Chiodini make welcome contributions to the joyful recording. One of the great blues ballads, “Since I Fell For You” was written and introduced by Buddy Johnson in 1945 with his sister Ella Johnson taking a notable vocal. Lyn puts plenty of honest feeling into the piece as does Rickey Woodard. The Moonlight Sessions Volume Two closes with the World War II. ballad “I’ll Be Seeing You.” The song was actually written slightly before the war for the 1938 show Right This Way which closed after 15 performances. “I’ll Be Seeing You” caught on big during the war years when a countless number of couples were reluctantly separated. Lyn fills her version with heartfelt emotion and sympathy.

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. 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. 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.

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.


01 – Makin’ Whoopee
02 – The Very Thought of You
03 – That Old Feeling
04 – Summer Knows
05 – Over the Rainbow
06 – How Deep Is the Ocean?
07 – Angel Eyes
08 – At Seventeen
09 – You’ve Changed
10 – Smile
11 – How Insensitive
12 – Love Me or Leave Me
13 – Since I Fell for You
14 – I’ll Be Seeing You

Lyn Stanley – vocals
Rickey Woodard – tenor saxophone
Chuck Findley – trumpet, flugelhorn
Bob McChesney – trombone
Mike Garson – piano
Christian Jacob – piano
Tamir Hendelman – piano
Carol Robbins – harp
Corky Hale – harp
John Chiodini – guitar
Chuck Berghofer – bass
Ray Brinker – drums
Bernie Dresel – drums
Joe LaBarbara – drums
Luis Conte – percussion
Hendrik Meurkens – harmonica
Budapest Scoring Symphonic Orchestra – strings

Produced by Lyn Stanley and Steve Genewick.
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.
Engineered by Al Schmitt, Paul Tavenner, Spencer Guerra and Steve Genewick. Mixed by Al Schmitt. Mastered by Bernie Grundman.



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