Lyn Stanley London With a Twist: Live at Bernie's

Lyn Stanley
London With a Twist: Live at Bernie's
A.T. Music LLC

This is the second of vocalist Lyn Stanley's tributes to the legendary Julie London. It is a follow-up to her wonderful "London Calling - A Toast To Julie London." The present recording was recorded Direct-To-Disc at Bernie Grundman's Mastering Studio in Hollywood, so this was a live-in-studio recording, but not at a club. It was like a high wire act as unlike a standard recording with tape, any 'mistakes' might be preserved or require a whole new recording. Stanley brought to the studio a band of guitarist John Chiodini (who co-produced this with Stanley), pianists Otmaro Ruiz and Mike Lang, bassist Chuck Berghofer, drummer Aaron Serfaty, and percussionist Luis Conte. Except for the pianists, the musicians also played on "London Calling." This band Stanley has named The Jazz Mavericks.

Like the prior CD, there is no attempt by Stanley to mimic Julie London. Instead, there is an attempt to create a similar mood to London's music, although Stanley's vocal technique and style is different from London's. In both cases, one gets an intimate sensuality with Stanley employing a sultry half-spoken soft sung delivery which often is set against sophisticated backing. Berghofer's bass opens "Route 66," a song that London never recorded by was written by her husband, Bobby Troup who played it often with Berghofer. It is followed by a cover of Bruce Springsteen's "Pink Cadillac." It is one of two contemporary numbers that Stanley attempts to perform in a manner that Julie London might have sung this. Pianist Ruiz and guitarist Chiodini standout on this behind Stanley's deliberate singing. I did find the rendition of Chuck Berry's "You Never Can Tell" less convincing.

Among other standout performances are an evocative interpretation of "Lover Man," with some deft and thoughtful piano; a beautiful "Blue Moon" with Chiodini's chorded guitar and Berghofer's firm bass line; and a lesser-known blue ballad from the World War II era, "Love Letters." Berghofer and Stanley open "Bye Bye Blackbird" as a duet before the full band provides a fuller setting. Perhaps her most exceptional vocal is a heartfelt "Body and Soul" with some wondrous backing followed by a lively performance of "In the Still of the Night" that closes this recording.

The sound, like Lyn Stanley's prior recordings, marvelously captures every nuance of the vocals and backing. "London With a Twist," might not be almost as satisfying a tribute to Julie London as "London Calling," but has more than enough charms to warrant considerable interest. It is available in a variety of formats.

I received my review copy from a publicist. This review originally appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is "Route 66" from this album.

Lyn Stanley London Calling: A Toast To Julie London

Lyn Stanley
London Calling: A Toast To Julie London
A.T. Music LLC

Song stylist Lyn Stanley follows up her two volumes of "Moonlight Sessions," with this tribute to the sultry songstress, Julie London. Most of the songs of this tribute were recorded by the great singer and actress, although Stanley includes a couple that she feels would have been perfect for London, It's Impossible," and "I Heard It Through the Grapevine." On this she has brought in a stellar group of musicians including guitarist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty, and drummer Paul Kreibich for interpretations of songs that are mostly from the Great American Songbook. I was not aware that Berghofer, who played the bass line for Nancy Sinatra's "These Boots Are Made For Walking," was London's bassist for a period or guitarist Chiodini was Peggy Lee's guitarist for seven years.

Like London, Stanley does not employ a broad vocal range, and her attack is usually understated and melodic. She is backed by a terrific ensemble starting with "Goody Goody," launched by Valerio's Arco bass opening and a chorus shared guitarist between Chiodini (who is superb throughout with his taste and imagination). Chiodini and percussionist Dutz provide a percolating groove to "Call Me Irresponsible," with Garson's sympathetic comping. The rendition of "Bye Bye Blackbird" is an intimate duet between Stanley and bassist Berghofer. "I Heard It Through The Grapevine" is one of the two performances that imagine songs in a manner London might have performed than with an atmospheric backing that allows Stanley to place the focus on the lyrics,

Of course, any salute to Julie London would be incomplete without a rendition of "Cry Me a River," and Stanley's wonderful, plaintive vocal is wonderfully supported by just Chiodini's exquisite guitar (including a marvelous solo) and Berghofer's bass. In a similar vein is her rendition of the classic Cole Porter ballad, "Ev'ry Time We Say Goodbye," with Chiodini and Berghofer equally superb. There are also two appealing, heartfelt renditions of Gershwin's classic "Summertime" with an understated quintet on one and just pianist Garson on the other. Then there is a sublime interpretation of "It's Impossible," (another song London never recorded) with Chiodini's sublime on his Spanish guitar. Chiodini's superb flamenco-tinged guitar and the band's accompaniment provides on "Light My Fire," a version more akin to Jose Feliciano than The Doors, although Lyn's understated sensuality contrasts with the more explicit feel of Jim Morrison on the original.

This is only a sampling of the marvelous music herd on this. There is also a booklet with Scott Yanow's observations on Lyn and each of the 17 performances (which include Lyn's comments). The sound is wonderful, and the productions, with diverse musical settings, and performances imbued with Lyn Stanley's musical personality result in this superb tribute. This is also available in Limited Edition 33RPM 180g two-disc vinyl and Super-audio CDs.

I received my review copy from a publicist. This review originally appeared in the May-June 2010 Jazz & Blues Report (Issue 384). Here is the official video for this release.

Lyn Stanley The Moonlight Sessions Volume One

Lyn Stanley
The Moonlight Sessions Volume One
A.T. Music LLC

A former corporate marketing executive, Southern California vocalist Lyn Stanley has produced this, the first of two volumes that is directed not simply at jazz enthusiasts but also audiophiles with SACD, hi resolution downloads, high end 45 RPM vinyl editions and even 15ips reel to reel tapes. She certainly has assembled a stellar cast of players for this recording session: pianists Mike Garson, Christian Jacob and Tamir Hendelman, guitarist John Chiodini, bassist Chuck Berghofer, drummer Joe La Barbara, percussionist Luis Conte, harmonica maestro Hendrik Meurkens, tenor-saxophonist Rickey Woodard, and trumpeter/trombone player Chuck Findley. Garson, Hendelman, Jacob, Chiodini and Doug Walter provided the arrangements on the standards and adaptations of pop songs.

Stanley is a marvelous song stylist as opposed to a scatting jazz vocalist who delivers a program "All or Nothing at All," "My Funny Valentine," "Embraceable You," "Why Don't You Do Right," "Crazy," "Close Your Eyes," and "In the Wee Small Hours," with a soft, sultry voice and direct, clean articulation of the lyrics. Her natural phrasing and delivery also contributes to the wonderful performances, along with the marvelous musicians such as Findlay's trumpet on the opening "All or Nothing at All," with wonderful piano and the brassy horn riffs. Woodard's tenor sax adds his magic to "Willow Weep For Me," as he embroiders her vocal with guitarist Chiodini adding chords and fills. Meurkens adds his harmonica to a Brazilian tinged treatment of "Close Your Eyes," while harmonica, and Chiodini's guitar to the lament, "How Insensitive, " that she sings in a heartfelt fashion.

One here's a definite Peggy Lee influence on her rendition of "Why Don't You Do Right?' that opens with finger-snapping, bass and guitar before La Barbara lightly uses brushes with Berghofer taking a solo. The choice of the Willie Nelson penned Patsy Cline hit, "Crazy," is an inspired choice with Berghofer opening playing the opening line before the band comes in with a juke joint feel and Findlay and the horns contribute extra spice. Another softly sung late night lament, "In the Wee Wee Hours," with Meurkens' harmonica complemented by Chiodini's guitar accompaniment and La Barbara's brushes providing the right atmosphere for this marvelous closing performance on a wonderfully sung, played, and recorded album of sophisticated jazz vocals.

I received my review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is Lyn Stanley performing live.