Recording session engineers Al Schmitt and Steve Genewick
Mixed by Al Schmitt, mastered by Bernie Grundman
All songs recorded, mixed and mastered on analog tape
"'Boulevard of Broken Dreams' ... is lesser known but so unusual, and it is indeed featured on Interludes. I can only describe it as deliciously different and exotic-sounding that pulls you in. ... Other great highlights of the album include the opener 'How Long Has This Been Going On?', the infectious 'Just One of Those Things,' a captivating 'More Than You Know,' a deliriously appealing 'Nice 'n Easy' ... She is backed by a magnificent orchestra, sings splendid arrangements ... and the CD itself is packaged divinely. ... What makes Stanley a wonderful performer/singer is that like a fine actress, she delivers the song as if she were doing it for the first time, telling the story with perfect diction, expert phrasing and timing." — Don Grigware, Grigware Reviews
"'How Long has This Been Going On,' the opener for Interludes demonstrates Stanley's command of the standard. But it is not the jazz standard that is special about Interludes. Stanley addresses two more recent compositions: 'Black Velvet,' released by Alannah Myles in 1989 and Led Zeppelin's 'Whole Lotta Love,' from Led Zeppelin II (Atlantic, 1969). Yes. 'Whole Lotta Love.' Lyn Stanley takes on the most white-hot anthem of the carnality of youth. She does so unflinchingly. There is little to be nostalgic about young love once you've learned what you are doing. And that is Stanley's point with covering this song. Arranged by guitarist John Chiodini the nominal blues-rock monolith becomes a steamy rumba propelled by bassist Chuck Berghofer and drummer Paul Kreibich, whose deft tom-tom work amps up the performance's already heady sensuality. Then, there is Stanley, who produced this recording, ensuring that a proper mixture of Bobby Gentry's 'Ode to Billy Joe,' Peggy Lee's 'Fever,' and Dusty Springfield's 'Son of a Preacher Man' are admixed into one grown up vision of love, sex, and the whole shooting match. Think if George Gershwin had composed 'Summertime' with J.J. Cale and you may begin to get the idea. Stanley must be applauded for taking this gigantic artistic chance. So many 'jazz' covers of contemporary material end so badly. In this case, not so. This is a special release in every way." — C. Michael Bailey, allaboutjazz.com, November 2014
"In these deconstructed times, it feels like you're spitting in the wind when you try to extol the virtues of an indie act. Stanley was right on the money from the start and the public has born this out. It's hard to be a successful jazz singer in the best of circumstances but Stanley has been doing the best of old school in all levels of the game and the public has responded. ... Making both 'Black Velvet' and 'I'm a Fool to Want You' her own in the same session---all I can say is what do you expect from a gal that records in Capitol Studio and has both Al Schmitt and Bernie Grundman working in the background? Killer stuff throughout like they don't make anymore---and should!" — MidwestRecord.com
"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
Singer Lyn Stanley's third studio album Interludes is robust and rousing. Stanley has enjoyed critical and commercial success with her first two recordings, Lost in Romance and Potions (from the 50s); here, her interpretations on another pass through the Great American Songbook employ vocals that are in turn seductive, emotional, saucy and inviting. She sounds comfortable no matter what the setting, finds jazz critic Scott Yanow.
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.
The recording venues again included Hollywood's legendary Capitol Recording Studios (Studio A — musician tracking and some vocals, Studio B — percussion and some vocals) as well as Big City Recording Studio and LAFx. The vocalist microphone used in Los Angeles and NYC tracking for vocals was a Neumann U47, and the vocals recorded at Capitol were with the same Neumann U47 used by Nat King Cole and Frank Sinatra. The album was mixed from 24-track, 2-inch ATR tape by Al Schmitt (except for track No. 14). All songs were mastered from half-inch analog tape by Bernie Grundman.
The Hybrid Stereo SACD was produced by Sony's DADC plant in Austria.
1. How Long Has This Been Going On?
2. Just One Of Those Things
3. Black Velvet
4. More Than You Know
5. Blvd. of Broken Dreams
6. Whole Lotta Love
7. Last Tango In Paris
8. Don’t Explain
9. Nice n Easy
10. The Island
11. It’s Crazy
12. In A Sentimental Mood
13. I Was A Little Too Lonely
14. I’m A Fool To Want You