8211 - THE BEST OF MADELEINE PEYROUX: KEEP ME IN YOUR HEART FOR A WHILE (2014)

MADELEINE PEYROUX
''THE BEST OF MADELEINE PEYROUX: KEEP ME IN YOUR HEART FOR A WHILE''
OCTOBER 14 2014
57:09

1 Don't Wait Too Long (Jesse Harris / Larry Klein / Madeleine Peyroux) 03:07
2 You're Gonna Make Me Lonesome When You Go (Bob Dylan) 03:23
3 Between The Bars (Elliott Smith) 03:40
4 (Getting Some) Fun Out Of Life (Joe Burke / Edgar Leslie) 03:10
5 Dance Me To The End Of Love (Leonard Cohen) 03:53
6 Smile (Charlie Chaplin / Geoff Parsons) 03:56
7 La Vie En Rose (Marcel Louiguy / Edith Piaf / Mack David) 03:17
8 Half The Perfect World (Leonard Cohen / Anjani Thomas) 04:18
9 Guilty (Randy Newman) 03:50
10 I'm All Right (Walter Becker / Larry Klein / Madeleine Peyroux) 03:25
11 Desperadoes Under The Eaves (Warren Zevon) 05:17
12 The Kind You Can't Afford (Madeleine Peyroux / Bill Wyman) 03:55
13 Instead (Julian Coryell / Madeleine Peyroux) 05:10
14 Keep Me In Your Heart (Joe Calderon / Warren Zevon) 03:30
15 This Is Heaven To Me (Theodore Presser / Frank Reardon / Ernest Schweikert) 03:09


REVIEW
by Matt Collar (AllMusic)
The 2014 career-spanning anthology Keep Me in Your Heart for a While: The Best of Madeleine Peyroux, showcases tracks from throughout the Georgia-born, Paris-based vocalist's career. Starting with her 1996 debut album, Dreamland, and running through her 2013 studio effort The Blue Room, Keep Me in Your Heart for a While reveals Peyroux's transformation from a bluesy, Billie Holiday-influenced vocal ingenue to a mature and sophisticated interpreter of popular song, both new and old. Here we get such tracks as "La Vie en Rose," "Smile," "Between the Bars," "Dance Me to the End of Love," and more. Also included is Peyroux's previously unreleased recording of Warren Zevon's "Keep Me in Your Heart," from the film Union Square.

BIOGRAPHY
by Richard Skelly (AllMusic)
Vocalist Madeleine Peyroux can best be thought of as a Billie Holiday for the 1990s. Like Holiday, Peyroux was marketed as a jazz singer, when what she seems to do best is sing blues music. Though Peyroux may remind some listeners of Holiday, there are differences; she has her own sense of phrasing and interpretation. Her 1996 Atlantic Records debut, Dreamland, is a brilliant recording, as Peyroux's distinctive voice is not hindered by overly intricate arrangements. Most of the accompaniment on the record is light and sparse, the way it should be for a singer with such a unique voice. Her debut album features a cast of top players from the New York jazz scene, including pianist Cyrus Chestnut, drummer Leon Parker, guitarists Vernon Reid and Marc Ribot, and saxophonist/clarinetist James Carter.

Peyroux was born in Athens, Georgia, and raised between Southern California, Brooklyn, and Paris. She began singing at age 15, when she discovered the Latin Quarter in Paris and became enamored with several street musicians. By 1989, she was working with a group of musicians called the Riverboat Shufflers, and after working for a while as a hat passer for the group, she began singing with them. She then joined the Lost Wandering Blues and Jazz Band at age 16, spending the next couple of years touring Europe while holding college in abeyance. That group formed the basis for her first album, for they performed the songs of Fats Waller, Billie Holiday, early Ella Fitzgerald, and others.

Though Dreamland was by no means a straight-ahead jazz album, Peyroux and her producers take a thoroughly modern approach to blues tunes from the 1920s and '30s. She interprets songs like Fats Waller's "I'm Gonna Sit Right Down and Write Myself a Letter," Billie Holiday's "Gettin' Some Fun Out of Life," as well as tunes popularized by Bessie Smith, like "Reckless Blues" and "Lovesick Blues." But unlike Smith or Holiday, who weren't known as songwriters, Peyroux also recorded three of her own tunes on Dreamland, "Always a Use" (on which she accompanies herself on guitar), "Hey Sweet Man," and "Dreamland."

It took another eight years, however (the reasons for which were never very clear), for her follow-up, Careless Love, to hit shelves. This time working with producer Larry Klein on Rounder Records, Peyroux explored a more contemporary and eclectic mix of covers, including Elliott Smith's "Between the Bars," Bob Dylan's "You're Going to Make Me Lonesome," and older songs like Hank Williams' "Weary Blues." It was very well-received and made the 2006 release of Half the Perfect World, again a combination of covers and originals, highly anticipated. The record, which featured a duet with k.d. lang, included versions of songs by Serge Gainsbourg and Tom Waits, among others. Peyroux's third Rounder release was 2009's Bare Bones, her first to feature all original compositions by Peyroux (some shared with co-writers), was greeted with favorable reviews and was followed by an international tour. Peyroux took some time off, and emerged in 2011 with a download single that foreshadowed Standing on the Rooftop, her debut for the Decca imprint. The digital-only single offered a restrained yet elegant cover of the Beatles' "Martha My Dear," and the original "The Things I've Seen Today," co-written with violinist Jenny Scheinman. Standing on the Rooftop, released in June of 2011, was produced by Craig Street, and featured a core band of guitarists Marc Ribot and Chris Bruce, bassist Me'Shell Ndegeocello, and drummer Charlie Drayton. There were guest appearances by Patrick Warren and Allen Toussaint, among others. Peyroux wrote or co-wrote eight of the album's 12 songs; the covers included the aforementioned Beatles' tune, Bob Dylan's "I Threw It All Away," and Robert Johnson's "Love in Vain," as well as a the W.H. Auden poem "Lay Your Sleeping Head, My Love," set to music by Ribot. Peyroux's next album, The Blue Room, utilized the inspiration of Ray Charles' revolutionary Modern Sounds in Country & Western Music as a template. It revisited some tracks from that album but also employed more contemporary material. Featuring the singer backed by a stellar studio group and occasional strings, it was released by Decca in 2013.

OFFICIAL SITE

3926 - MADELEINE PEYROUX - The Blue Room (2013)

MADELEINE PEYROUX
''THE BLUE ROOM''
FEBRUARY 5 2013
42:56

1/Take These Chains/3:11
2/Bye Bye Love/3:27
3/Changing All Those Changes/3:09
4/Born To Lose/4:26
5/Guilty/3:51
6/Bird On the Wire/5:36
7/I Can't Stop Loving You/4:17
8/Gentle On My Mind/6:40
9/You Don't Know Me/4:00
10/Desperadoes Under the Eaves/4:19

Celebrated and Award-winning jazz singer, songwriter, and guitarist, Madeleine Peyroux gears up to release her inspired new album, THE BLUE ROOM, March 5, 2013 on Decca. The album is a return to what she is known best for – reinterpreting songs with an emotion and depth that can’t help but touch the soul.
THE BLUE ROOM features Madeleine reinterpreting songs from Ray Charles’ seminal album MODERN SOUNDS IN COUNTRY & WESTERN MUSIC, as well as others from legendary artists such as Randy Newman and Leonard Cohen, whose legacies are herein enveloped into a similar melting pot of the variety of American popular song. Released in the summer of 1962, MODERN SOUNDS was a daring album for Charles as it broke the mold of what was expected from him, and in turn, truly represented artistic freedom – something that clearly inspires Peyroux’s album THE BLUE ROOM. Conceived and produced by the legendary GRAMMY-Award winner Larry Klein (Joni Mitchell, Tracy Chapman, Herbie Hancock), he says, “Ray’s cultural landmark of an album has always been a part of me. I have loved this album ever since I can remember and I knew that Madeleine would be the perfect voice to bring it to the forefront again.”

BIOGRAPHY
by Richard Skelly
Vocalist Madeleine Peyroux can best be thought of as a Billie Holiday for the 1990s. Like Holiday, Peyroux was marketed as a jazz singer, when what she seems to do best is sing blues music. Though Peyroux may remind some listeners of Holiday, there are differences; she has her own sense of phrasing and interpretation. Her 1996 Atlantic Records debut, Dreamland, is a brilliant recording, as Peyroux's distinctive voice is not hindered by overly intricate arrangements. Most of the accompaniment on the record is light and sparse, the way it should be for a singer with such a unique voice. Her debut album features a cast of top players from the New York jazz scene, including pianist Cyrus Chestnut, drummer Leon Parker, guitarists Vernon Reid and Marc Ribot, and saxophonist/clarinetist James Carter.
Peyroux was born in Athens, Georgia, and raised between Southern California, Brooklyn, and Paris. She began singing at age 15, when she discovered the Latin Quarter in Paris and became enamored with several street musicians. By 1989, she was working with a group of musicians called the Riverboat Shufflers, and after working for a while as a hat passer for the group, she began singing with them. She then joined the Lost Wandering Blues and Jazz Band at age 16, spending the next couple of years touring Europe while holding college in abeyance. That group formed the basis for her first album, for they performed the songs of Fats Waller, Billie Holiday, early Ella Fitzgerald, and others.
Though Dreamland was by no means a straight-ahead jazz album, Peyroux and her producers take a thoroughly modern approach to blues tunes from the 1920s and '30s. She interprets songs like Fats Waller's "I'm Gonna Sit Right Down and Write Myself a Letter," Billie Holiday's "Gettin' Some Fun Out of Life," as well as tunes popularized by Bessie Smith, like "Reckless Blues" and "Lovesick Blues." But unlike Smith or Holiday, who weren't known as songwriters, Peyroux also recorded three of her own tunes on Dreamland, "Always a Use" (on which she accompanies herself on guitar), "Hey Sweet Man," and "Dreamland."
It took another eight years, however (the reasons for which were never very clear), for her follow-up, Careless Love, to hit shelves. This time working with producer Larry Klein on Rounder Records, Peyroux explored a more contemporary and eclectic mix of covers, including Elliott Smith's "Between the Bars," Bob Dylan's "You're Going to Make Me Lonesome," as well as older songs like Hank Williams' "Weary Blues." It was very well received and made the 2006 release of Half the Perfect World, again a combination of covers and originals, highly anticipated. The record, which featured a duet with k.d. lang, included versions of songs by Serge Gainsbourg and Tom Waits, among others. Peyroux's third Rounder release was 2009's Bare Bones, her first to feature all original compositions by Peyroux (some shared with co-writers), was greeted with favorable reviews and was followed by an international tour. Peyroux took some time off, and emerged in 2011 with a download single that foreshadowed Standing on the Rooftop, her debut for the Decca imprint. The digital-only single offered a restrained yet elegant cover of the Beatles' "Martha My Dear," and the original "The Things I've Seen Today," co-written with violinist Jenny Scheinman. Standing on the Rooftop, released in June of 10011, was produced by Craig Street, and featured a core band of guitarists Marc Ribot and Chris Bruce, bassist Me'Shell Ndegeocello, and drummer Charlie Drayton. There guest appearances by Patrick Warren and Allen Toussaint, among others. Peyroux, wrote or co-wrote eight of the album's 12 songs; the covers included the aforementioned Beatles' tune, Bob Dylan's "I Threw It All Away," and Robert Johnson's "Love in Vain," as well as a the W.H. Auden poem, "Lay Your Sleeping Head, My Love," set to music by Ribot.

DoWnLoAd

3510 - MADELEINE PEYROUX - Half The Perfect World (2006)

MADELEINE PEYROUX
''HALF THE PREFECT WORLD''
SEPTEMBER 12 2006
48:56

1/I'm All Right
Madeleine Peyroux/3:27
2/The Summer Wind
Hans Bradtke / Henry Mayer / Johnny Mercer/3:55
3/Blue Alert
Leonard Cohen / Anjani Thomas/4:10
4/Everybody's Talkin'
Fred Neil/5:10
5/River/Feat. K. D. Lang
Joni Mitchell/5:19
6/A Little Bit
Madeleine Peyroux/4:02
7/Once in a While
Madeleine Peyroux/4:00
8/(Looking For) The Heart of Saturday Night
Tom Waits/3:27
9/Half the Perfect World/4:21
10/La Javanaise
Serge Gainsbourg/4:11
11/California Rain
Madeleine Peyroux/2:57
12/Smile
Charlie Chaplin / Geoff Parsons/3:57

Scott Amendola/Drums
Sam D. Bass/Cello
Jay Bellerose/Cymbals, Drums
Till Brönner/Trumpet
Gary Foster/Sax (Alto)
Larry Goldings/Celeste, Wurlitzer, Soloist
Graeme Jennings/Violin
Carla Kihlstedt/Violin
K.D. Lang/Vocals
Greg Leisz/Pedal Steel
Dean Parks/Guitar, Ukulele, Soloist
Madeleine Peyroux/Guitar, Vocals
David Piltch/Bass
Charith Premawardhana/Viola
Sam Yahel/Piano, Organ (Hammond), Wurlitzer

REVIEW
by Marisa Brown
Madeleine Peyroux took significantly less time than the eight years between her debut and its follow-up to release her third album, Half the Perfect World, which finds a more mature -- or at least less vulnerable -- singer, one who chooses to express herself with nuance rather than overtness. Often, like in the opening "I'm All Right" -- one of four original songs -- this aversion to unconcealed emotion works well, playing off the swelling Hammond, the swinging rhythm of the acoustic guitar (contrasting nicely with the hook of "It's all right, I've been lonely before"), and the simple drums. But at other times, like in "A Little Bit" -- which is bluesy and more upbeat and practically screams for an outburst, a growl, something -- her hesitancy instead almost comes across as a flaw, as a fear of fully expressing herself. On "Blue Alert," where Anjani's voice was full and seductive, rife with curling smoke rings and lipstick-stained wineglasses, Peyroux seems desolate and flat and she simplifies the situation too much, though she does fare much better on the other Anjani/Leonard Cohen piece and title track of the album. Here, she changes its perspective, mixing the characters together and sounding beautifully fragile, yet at the same time strong and certain, as she sings about her love. The same can be said for her version of the Johnny Mercer-penned "The Summer Wind," which uses a cleaner, less dramatic arrangement to convey the feeling that, though she's thinking about past events with some nostalgia, she's also able to accept the outcome and move forward with her life. This kind of resignation hangs heavy throughout the entire album, making every song she covers seem sadder than the original. Joni Mitchell's "River," sung with k.d. lang, is slow and heart-wrenching (lang's voice, especially, brings a sweet melancholy to it), and Peyroux's version of Charlie Chaplin's "Smile" has a kind of dejected resoluteness that makes you wonder if she can even follow the advice she's singing. This subtlety is two-fold, however. It's so prevalent in the music that it's hard to tell if it's hinting at greater depth or if it's really a protective blanket, an affected timidity to prevent exposure. The delicateness of Half the Perfect World is certainly nice, but Peyroux seems to be using it as a device to hide behind instead of an actual expression of feeling, and so while the album is an overall success, it still leaves questions lingering behind the softly clicking hi-hat, the wandering bass, of when the singer's really going to show herself completely.

BIOGRAPHY
by Richard Skelly
Vocalist Madeleine Peyroux can best be thought of as a Billie Holiday for the 1990s. Like Holiday, Peyroux was marketed as a jazz singer, when what she seems to do best is sing blues music. Though Peyroux may remind some listeners of Holiday, there are differences; she has her own sense of phrasing and interpretation. Her 1996 Atlantic Records debut, Dreamland, is a brilliant recording, as Peyroux's distinctive voice is not hindered by overly intricate arrangements. Most of the accompaniment on the record is light and sparse, the way it should be for a singer with such a unique voice. Her debut album features a cast of top players from the New York jazz scene, including pianist Cyrus Chestnut, drummer Leon Parker, guitarists Vernon Reid and Marc Ribot, and saxophonist/clarinetist James Carter.
Peyroux was born in Athens, Georgia, and raised between Southern California, Brooklyn, and Paris. She began singing at age 15, when she discovered the Latin Quarter in Paris and became enamored with several street musicians. By 1989, she was working with a group of musicians called the Riverboat Shufflers, and after working for a while as a hat passer for the group, she began singing with them. She then joined the Lost Wandering Blues and Jazz Band at age 16, spending the next couple of years touring Europe while holding college in abeyance. That group formed the basis for her first album, for they performed the songs of Fats Waller, Billie Holiday, early Ella Fitzgerald, and others.
Though Dreamland was by no means a straight-ahead jazz album, Peyroux and her producers take a thoroughly modern approach to blues tunes from the 1920s and '30s. She interprets songs like Fats Waller's "I'm Gonna Sit Right Down and Write Myself a Letter," Billie Holiday's "Gettin' Some Fun Out of Life," as well as tunes popularized by Bessie Smith, like "Reckless Blues" and "Lovesick Blues." But unlike Smith or Holiday, who weren't known as songwriters, Peyroux also recorded three of her own tunes on Dreamland, "Always a Use" (on which she accompanies herself on guitar), "Hey Sweet Man," and "Dreamland."
It took another eight years, however (the reasons for which were never very clear), for her follow-up, Careless Love, to hit shelves. This time working with producer Larry Klein on Rounder Records, Peyroux explored a more contemporary and eclectic mix of covers, including Elliott Smith's "Between the Bars," Bob Dylan's "You're Going to Make Me Lonesome," as well as older songs like Hank Williams' "Weary Blues." It was very well received and made the 2006 release of Half the Perfect World, again a combination of covers and originals, highly anticipated. The record, which featured a duet with k.d. lang, included versions of songs by Serge Gainsbourg and Tom Waits, among others. Peyroux's third Rounder release was 2009's Bare Bones, her first to feature all original compositions by Peyroux (some shared with co-writers), was greeted with favorable reviews and was followed by an international tour. Peyroux took some time off, and emerged in 2011 with a download single that foreshadowed Standing on the Rooftop, her debut for the Decca imprint. The digital-only single offered a restrained yet elegant cover of the Beatles' "Martha My Dear," and the original "The Things I've Seen Today," co-written with violinist Jenny Scheinman. Standing on the Rooftop, released in June of 10011, was produced by Craig Street, and featured a core band of guitarists Marc Ribot and Chris Bruce, bassist Me'Shell Ndegeocello, and drummer Charlie Drayton. There guest appearances by Patrick Warren and Allen Toussaint, among others. Peyroux, wrote or co-wrote eight of the album's 12 songs; the covers included the aforementioned Beatles' tune, Bob Dylan's "I Threw It All Away," and Robert Johnson's "Love in Vain," as well as a the W.H. Auden poem, "Lay Your Sleeping Head, My Love," set to music by Ribot.

MC