Lyn Stanley | London Calling: A Toast to Julie London -33rpm 2 Disc Vinyl

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London Calling: A Toast to Julie London -33rpm 2 Disc Vinyl

by Lyn Stanley

The "ultimate" Julie London tribute, Lyn Stanley's London Calling captures sultry singing at its best with 15 of Julie's covers and two bonus songs from Lyn. Five Star Review -The Absolute Sound -180g- 2 discs with top sound engineering and jazz musicians
Genre: Jazz: Jazz Vocals
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  Song Share Time Download
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1. Goody Goody
2:45 album only
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2. Call Me Irresponsible
3:35 album only
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3. Bye Bye Blackbird
2:49 album only
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4. I Heard It Through the Grapevine
5:29 album only
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5. How About Me?
2:55 album only
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6. Cry Me a River
4:02 album only
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7. I've Got a Crush on You
2:46 album only
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8. Blue Moon
3:15 album only
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9. Light My Fire
3:33 album only
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10. Sway
5:09 album only
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11. Go Slow / Nice Girls Don't Stay for Breakfast
2:52 album only
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12. Summertime
5:03 album only
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13. It's Impossible
3:52 album only
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14. As Time Goes By
5:17 album only
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15. You the Night and the Music
2:21 album only
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16. Ev'ry Time We Say Goodbye
4:03 album only
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17. Summertime (Piano / Vocal)
6:17 album only

ABOUT THIS ALBUM


Album Notes
Sultry singer Lyn Stanley shares details on her eagerly awaited 6th release:
London Calling…A Toast To Julie London
Award-winning, internationally acclaimed jazz vocalist Lyn Stanley follows her top-selling
Moonlight Sessions albums with an ultimate tribute to Julie London.

Lyn honors the Great American Songbook and reimagines 17 classic songs on her upcoming album, London Calling…A Toast To Julie London.
Sneak Peek: Special audiophile editions scheduled to drop in late 2018—Limited Edition 33RPM 180g two-disc vinyl and Super-audio CDs arrive in time for holiday gift season!

Los Angeles, CA: In this stunning new collection—London Calling…A Toast To Julie London—listeners will discover a side of singer Lyn Stanley that they haven’t heard before. The 17 tunes on this recording explore phases of romance from first glance, in “Blue Moon,” to a missed chance, in “Cry Me a River.” Most of the wide-ranging material presented here was originally recorded by singer/actress Julie London, along with a couple of offerings that Stanley feels would have been perfect for the sultry songstress, such as “It’s Impossible,” and “I Heard It Through the Grapevine.”
With her distinctive sound and approach, Lyn Stanley brings to mind a method actor, mining the stories and feelings in each tune and getting to the heart of the lyrics. Striving for sensitivity, Stanley stays true to these stories and portrays the experiences of people engaged in the dance of romance.
Besides being a well-conceived appreciation of the popular singer/actor Julie London, in both music and album graphic presentation, London Calling marks a big step forward in Lyn Stanley’s evolution as a recording artist. She recalls that for her debut album, 2013’s Lost in Romance, her mentor Paul Smith, renowned as Ella Fitzgerald’s long-time musical director and frequent collaborator, offered a lengthy tune list and urged the fledgling vocalist to pick some she could relate to. “It was as if you had a bunch of ingredients on the table and had to decide on the spot if you are going to make ramen or spaghetti,” she muses.
Just five years later, Stanley provided a recipe of her own to bring her unique vision of the Julie London project to fruition. Not only did she have a self-curated set list, she also had a clear idea of how each tune should sound, aiming to hold true to the composers’ ideas while stirring in some of her own.
Lyn Stanley always makes a practice of working with top-flight musicians, and once she communicated her ideas to them, she welcomed their input. Without any written arrangements, the brilliant results of their collaboration bring cutting-edge ideas to vintage songs. “It’s a thrill to hear something you’ve brought into life,” Stanley says. “It came to me so easily once I got my bearings.”
The singer opted for an intimate sound from a stellar lineup that brings together some of the very best players on the California jazz scene: guitarist/featured artist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty (also heard on drums); and drummer Paul Kreibich.

With London Calling's artful packaging, Stanley finds another way to pay tribute to her inspiration, Julie London, who said photo shoots for her albums took longer than the recording process. That's not the case with Stanley, whose audiophile bona fides and perfectionism in the studio and throughout production are well established. But the gorgeously photographed images of the elegantly clad chanteuse are an homage to London's sensuous approach that reflects Lyn's own 21st century sensibilities. Completing the package are liner notes by Scott Yanow, offering a historian’s perspective on the music, providing background on each song, and insights to how Lyn—and Julie!—approached the tunes.

London Calling highlights include:
“Cry Me a River” This heartfelt but cool take on the quintessential London hit has an after-hours feel, touching on former feelings without longing or regret. With this strong and simple statement, Stanley knows when to dig in and when to hold back.
Joyful and tender, “As Time Goes By” is handled with delicacy and feeling, evoking the past while looking to the future.
Stanley’s swinging interpretation of “Goody Goody” has a bit of a bite and a bad-girl attitude; it’s a breakup story told by someone who’s landed on her feet.
“Call Me Irresponsible” gives us a peek at the vulnerable side of a sophisticate in this persuasive rendition of a classic. The crisp swing culminates in a seductive purr.
On “It’s Impossible,” Stanley portrays the sense of wonder felt at the first flush of romance with divine understatement and a slight ache in her voice. Check out the delightful collaboration with percussionists Luis Conte and Aaron Serfaty.
Stanley smolders on the slow, slinky, shimmering “Sway,” making every note—every pause!—matter.
The flamenco-flavored “Light My Fire” is full of sensuous invitation. Romantic and intriguing, it’s a refreshing new look at the Doors’ hit from the late 1960s.
“Summertime” is a tune so nice Stanley had to record it twice on London Calling. The ensemble rendition is spare, supple, and sultry, with her voice shining like a jewel in the lean arrangement. On a duo version, Stanley and pianist Mike Garson play at a hot-August-night tempo that’s full of haunting, hypnotic allure.
You’ve never heard “I Heard It Through the Grapevine” done quite like this! The relentless rhythm of this great ensemble piece conveys an ominous undercurrent, as Stanley’s treatment of the lyric reveals an iron will in a velvet voice.
A favorite among audiophiles, Stanley plans to release multiple versions of London Calling, including 17 tracks on a choice of super-audio CD or two-disc vinyl LP set. A dozen tunes will also be offered on a direct-to-disc vinyl recording. Stanley’s tradition of surrounding herself with the best comes through bright and clear in the magnificent sound of this recording, thanks to engineering by Steve Genewick, Rouble Kalpoor, and Spencer Garcia; mixing by Allen Sides, and mastering by Bernie Grundman.

London Calling…A Toast To Julie London is a culmination of Lyn Stanley’s lifetime of rich experience, both personal and professional, from her long-time enjoyment of London through her own her early perceptions of romance. For the project she tapped into communications techniques developed as a successful corporate manager along with a jazz-inspired approach to rolling with obstacles in creative and innovative ways.

Besides being a state-of-the-art tribute (following both the musical ideas and marketing platforms of Julie London), it is also a revelation of Lyn Stanley's formidable chops. With a late 2018 audiophile release and Valentine's Day weekend—February 15, 2019—wide release street date, London Calling…A Toast To Julie London is a gift for lovers and lovers of great music, created the way it was in the 1960s— by the musicians themselves as a band. Keep an eye out for multiple versions of the album, including standard and super-audio CDs, along with a two-disc vinyl LP set. Distribution will be through CDBaby.com and other fine audio retail and online outlets.
For more information contact:
Produced by Lyn Stanley, with Associate Producer John Chiodini. Executive Producer: A.T. Music LLC. Engineered for high fidelity using analog mixing and mastering. Engineers: Steve Genewick (tracking), Allen Sides (mixing, and Bernie Grundman (mastering). Recorded and Mixed at United Recording, Studio A in Hollywood, using the Focusrite analog console, one of only ten ever made.

Working with many of LA’s best session players, and without any written arrangements, the intimate collaboration is nothing short of remarkable. Stanley said; “It was a thrill to hear something that you’ve brought to life come all so easily.” The stellar lineup of musicians included; 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.
Thanks to engineering by Steve Genewick, Rouble Kalpoor, and Spencer Garcia; mixing by Allen Sides, and mastering by Bernie Grundman, the best sound comes through bright, clear, and magnificently.

Stanley, whose audiophile bona fides and perfectionism in the studio are well established, has also produced artful packaging for the album with gorgeously photographed images, yet another tribute to Julie London inspiration. Completing the package are wonderful liner notes by Scott Yanow, offering an historian’s perspective on the music, background on each song, and insights to how both Lyn—and Julie!—approached these tunes.

Review from The Absolue Sound July/August 2019 issue by Paul Seydor:
Lyn Stanley: London Calling: A Toast to Julie London: stereo, vinyl and hybrid SACD
By Paul Seydor

London Calling: A Toast to Julie London is Lyn Stanley’s sixth album since 2013, with another due out before this review sees print. Seven superb albums in six years suggests someone making up for a lot of lost time. Well, maybe not lost in the case of Stanley, whose life has surely been full, but she was in her fifties when she made that first album and has had another round-number birthday since, though you’d never prove it by her looks, energy, and activity. I’ve not space to detail her extraordinary trajectory from top marketing CEO to champion competitive ballroom dancer to internationally acclaimed jazz singer, so I refer you to Andrew Quint’s excellent TAS profile/interview (http://www.theabsolutesound.com/articles/lyn-stanley/).
Stanley’s got it all: brains, beauty, personality, and a true alto with a gorgeous lower register that invites all the “s” words—smoky, sultry, sexy, sophisticated. Her first priority is always the lyrics, the story in the song. Even when you don’t share her view of a piece, the why of her interpretive decisions and the intelligence behind them are evident. To this add impeccable taste in material (drawn mostly from the Great American Songbook), near flawless pronunciation, first-rate musicianship, phrasing second to none, unerring judgment in assembling the best musical and technical collaborators, and a sheer joy in performing that makes every one of her albums sound like personal dreams come true.
Inasmuch as she throws herself so completely into a song as to inhabit it, I was intrigued that her first tribute album is to Julie London, the great minimalist who turned non-interpretation, casualness, even throw-away into a style. But Stanley doesn’t attempt to “do” London, though she avails herself of some of London’s favorite instruments, notably guitar, here the estimable John Chiodini, and double bass, the wonderful Chuck Berghofer, who indulges a ritzy allusion (which I shall not spoil) at the end of “Bye Bye Blackbird,” a song Stanley dispatches with rhythmic panache and wry humor (“so is he” inflected as a naughty aside, a sly elbow in the ribs). “Heard It Through the Grapevine” finds her low-key but intense expressiveness rejecting the driving rhythm-and-blues soulfulness of performers who made hits of this song, instead zeroing in laser-like on the hurt that lies at its heart, the lyrics about a lover who’s learned from third parties of her partner’s deceit and betrayal. An insistently repetitive rhythmic motif in the arrangement suggests the gossip mill that never stops churning. This is a masterly demonstration of how an artist reveals (or invests) unsuspected emotion in thrice-familiar material.
No surprise that several selections are done in dance tempos: a bossa nova rhythm under “As Time Goes By” lightens a song that can get heavy, a novel swinging up-tempo for “How About Me?” suggests the rejected lover thumbing her nose at the man who’s jilted her, an absolutely witchy tango for “You and the Night and the Music” infuses it with almost desperate urgency. “I’ve Got a Crush on You” gets the full sultry treatment, as Stanley alone can do, yet with a coquettishness that’s playful and subtly ironic. No such irony dilutes her frank sensuousness in “Sway” and “Go Slow,” both of which might court an X were albums rated like movies. And what a brilliant stroke to segue from “Go Slow” into “Nice Girls Don’t Stay for Breakfast,” the passionate night before now a clear one-nighter with no guilt attached whatsoever.
She includes two versions of “Summertime,” the first given the typical hot Southern summer evening bluesy treatment—great steamy backup by Chiodini, Berghofer, and the pianist Mike Garson. The second, which concludes the album, is a sans rehearsal one-off in the last seven minutes of a session, because Garson wanted to do it as a duet with Stanley. The results are exquisite, the intimacy holding one spellbound as Garson weaves gossamer textures around Stanley’s limpid vocals, the lyrics sung so simply, so directly, with such depth of feeling as to restore the song to its origins, a mother soothing her baby to sleep. “It’s perfect,” said the owner of the studio, “wouldn’t change a thing.” Nor would I.
As with all her previous albums, Stanley’s presentation is the class act all the way: striking cover art, gatefold jacket, lavish 16-page booklet with excellent notes by the distinguished jazz critic Scott Yanow, a brief history of each song followed by information about the arrangements and Stanley’s approach. The reference-caliber recording—Allen Sides and Bernie Grundman share principal credits—is so fine it can be enjoyed for itself alone: clear, clean, natural, dynamic, transparent, and true. You feel there’s nothing between you and the performers, and surfaces of the vinyl edition are pristine.


Music: five stars
Sound: five stars

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