Jazz LP Review: Lyn Stanley's The Moonlight Sessions Vol.1

I've just played Lyn Stanley's latest jazz vocal, Moonlight Sessions vol.1, on 180g 45 rpm vinyl. It is outstanding from both a musical and sonic perspective. If I had to describe Stanley's musical approach in one word, that word would be intimate. I found myself imagining a smoky after-hours club where I sat nursing a drink and wounded feelings while being consoled by a torch singer who made me believe I was the only person she was singing to - and that she understood. Her intonation is precise, her pitch perfect, and her technique is always appropriate for the emotion she seeks to convey. So far, my favorites include Willow Weep for Me, Moonlight Serenade, My Funny Valentine, How Insensitive, and In the Wee Small Hours. The sonics are spectacular, as you would expect from recording engineer Al Schmitt and mastering engineer Bernie Grundman. But there is another trick up this LP's sleeve: the "one step" pressing process that cuts two generations out of the record making chain. I can see this becoming standard fare at audio show demonstrations, and will be in heavy rotation at my place for the foreseeable future.
I bought the SACD and I agree with OP, she gives an outstanding performance and a well recorded disc worthy of repeated playback. 
Thanks, Zach.  I am an admirer of Lyn Stanley's work and didn't know about this release.  Just ordered a copy form Acoustic Sounds.
I just received my copy last week, # 8 out of 2000 of the one step pressing. It sounds excellent and has a very quiet background. I am now waiting for the new direct to disc record from Anne Bisson to be released.
Many thanks Zach for posting this! I appreciate this wonderful review of my One Step vinyl -Volume One The Moonlight Sessions.

A refresher for some who may be confused about One Steps - this is a pressing technique where the lacquer makes the Father or Master stamper. It is this master that makes the record -hence called ONE STEP-and when the Father is maxed out pressing records-- that lacquer and all it’s costs ($400ea just for the actual lacquer hardware and you need 8 for double albums), are gone/lost to production expenses and this is without extra engineering time to master and EQ. So these are precious and very expensive to make records.. Most three step albums, such as a direct to disc (which is a recording technique) and not mastered- just mixed)-are able to save the Father or master disc to make mothers and subsequent production stampers ( these cost considerably less than a master stamper). With instant recording and minimal production costs, D2D are favored with low budget projects. You can simultaneously also record hi Rez files and reel to reel while making the unmastered (it is mixed live) D2D lacquer. This cuts down studio and engineering costs considerably. In my case, using traditional studio tracking, Bernie would never agree to master my lacquer, create HiRez files and tape at the same time because they are different media and must be mastered a bit differently. The three step vinyl is also used to help keep pressing costs down and preserve the Father lacquer. Thanks to everyone for your support from all we artists-- we are grateful!!
My copy (#502/2000) arrived last week, and . . . it's a keeper!  Beautiful interpretations and stunning sound delivered via flat, quiet vinyl.  Couldn't ask for more.