Lyn Stanley - The Moonlight Sessions Volume Two (2017) [DSD128 + Hi-Res]

Throughout her career, jazz vocalist/stylist Lyn Stanley’s recordings and performances have featured her warm and quietly expressive singing, inventive arrangements, fresh revivals of beloved standards, and first-class productions with top-notch musicians. With each recording, she has grown as an interpreter of gems from the Great American Songbook, bringing back classic songs but in her own way.

Her 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.

The two volumes of The Moonlight Sessions are Lyn Stanley’s finest recordings so far and make one look forward to her future projects.