Lyn Stanley – Tribute to 1924 (Album Review)

Lyn Stanley’s A Tribute to 1924 is not just a celebration of the music from a pivotal year in jazz history; it is a fully realised and deeply reverent time capsule presented with stunning sonic detail. With her signature blend of elegance, precision, and warmth, Stanley delivers a carefully curated collection of century-old jazz standards, interpreted with both emotional depth and contemporary finesse.

This album brings together some of the finest musicians in jazz today. The ensemble includes Mike Garson on piano, John Chiodini on guitar, Chuck Berghofer on bass, Luis Conte on percussion, Aaron Serfaty on drums, Hendrik Meurkens on harmonica, and Rickey Woodard on tenor sax. The musicianship across the record is exceptional, with each performer given space to shine. The engineering by Allen Sides and mastering by Bernie Grundman result in a flawless audiophile experience, with impeccable mixing and balance that allows every instrument and nuance of Stanley’s voice to be fully appreciated.

Opening with Fascinating Rhythm, the album sets an energetic tone. The drums are prominent and engaging, followed by a quick and groovy piano that reflects classic jazz traditions. Stanley’s phrasing is playful and expressive as she sings about the frustration of routine and the desire to reconnect with a freer, former self. The guitar remains subtle but rewarding for those who listen closely, and the repetition of the first verse adds a cyclical charm that suits the song’s restless energy.

It Had to Be You slows things down with a more reflective mood. The harmonica and piano work in tandem to build a mellow atmosphere, while Stanley’s deeper vocal tone enhances the song’s emotional weight. The build toward the end, followed by each instrument fading out one by one, creates a soft, graceful landing that demonstrates the album’s attention to dynamics and pacing.

With Somebody Loves Me, a romantic saxophone introduces a track filled with curiosity and hope. Stanley sings of longing and the belief that love is imminent, balancing sweetness and introspection. The saxophone remains a highlight, capturing the gentle uncertainty and optimism of the lyrics.

Hard Hearted Hannah brings a sharp turn in tone. With a biting delivery and raspy edge, Stanley fully inhabits the character of the song. Her performance peaks vocally here, with a standout line describing Hannah as the meanest girl in town. The instrumental break that follows is electric, particularly the saxophone, which returns with passion and soul after a strategic pause. It is a moment of theatrical jazz storytelling at its best.

The Man I Love offers a sincere contrast. It is tender and vulnerable, with themes of affection and understanding. Stanley’s vocal control is striking here, supported by precise piano work and understated guitar lines. The production quality stands out, blending all elements into a smooth, emotional listening experience. The pace invites reflection, and the fade into the next track allows the sentiment to linger.

What’ll I Do? opens with a confident bassline, setting a tone that is both mischievous and melancholic. The beat grows in complexity as instruments join in, carrying the emotional arc of separation and lost love. Stanley whispers the song’s title at the end, a subtle and haunting conclusion that echoes the quiet heartbreak beneath the swing.

Tea for Two is a charming and upbeat number led by a bright jazz piano. Her smooth vocals glide over lyrics of romantic domesticity, and the guitar solo near the end adds a thoughtful pause that enhances the emotional core. The track is lighthearted yet emotionally grounded, exemplifying Stanley’s ability to balance whimsy and weight.

Everybody Loves My Baby brings back energy with a folky harmonica and a sensual sax. The lyrics celebrate a love that is both envied and fiercely loyal. Instrumentally driven, this song still leaves plenty of room for Stanley’s character to come through. A playful spoken line at the end, “That’s right girls,” adds a cheeky, confident touch that helps close the piece with flair.

The One I Love Belongs to Somebody Else offers a sharp thematic pivot. The guitar riffs are smooth and sorrowful, setting up lyrics that explore the pain of loving someone who is already committed. It is a bittersweet counterpart to the joy expressed in the previous track and reveals the album’s careful sequencing and narrative contrast.

All Alone continues the introspective turn. The guitar adds a rock-infused edge, blending into the jazz framework without breaking the mood. Stanley sings of longing and loneliness with sincerity, and the piano builds intensity before falling away, reflecting the emotional tides of memory and loss. The instrumental fade at the end leaves a resonant stillness.

You Made Me Love You closes the album with softness and restraint. The instruments are more spaced out, giving room for the listener to reflect on what has come before. Stanley’s final vocal note is delivered with precision and grace, followed by a delicate fade of piano, bringing the project to a quiet, satisfying end.

SCORE/ Outstanding – Lyn Stanley’s A Tribute to 1924 is a testament to her vision and dedication. It honours the past without mimicking it and brings these timeless songs to life with clarity, care, and unmistakable style. Every choice feels intentional, from the arrangements to the sequencing, and the result is an album that feels classic and fresh in equal measure. For jazz lovers and audiophiles alike, this is a standout release and a moving tribute to a defining year in musical history.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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