1.    Dance Me To The End Of Love (L. Cohen)
2.    Don’t Wait Too Long (J. Harris / L. Klein / M. Peyroux)
3.    Don’t Cry Baby (S. Bernie / J. Johnson / S. Unger)
4.    You’re Gonna Make Me Lonesome When You Go (B. Dylan)
5.    Between the Bars
6.    No More (B. Russell)
7.    Lonesome Road (G. Austin / N. Shilkret)
8.    J’Ai Deux Amours (V. Scotto / H. Varna)
9.    Weary Blues from Waitin’ (H. Williams)
10.    I’ll Look Around (G. Cory / D. Cross)
11.    Careless Love (W. Handy / M. Koenig / S. Williams)
12.   This Is Heaven to Me (F. Reardon / E. Schweikert)

    Madeleine Peyroux — vocals, acoustic guitar
    Dean Parks — guitars
    Larry Goldings — piano, Wurlitzer electric piano, Estey Organ, Hammond organ, celeste
    David Piltch — bass
    Jay Bellerose — drums, percussion
    Lee Thornburg — trumpet (tracks 6 and 12)
    Scott Amendola — brushes (track 10)

With the release of her long awaited follow-up album, Careless Love, Peyroux’s potential as an artist is truly realized. Her smoky voice and knowing delivery make each song her own, whether she’s singing vintage tunes by W.C. Handy and Hank Williams, or contemporary songs by Leonard Cohen and Elliott Smith. Producer Larry Klein (Joni Mitchell, Shawn Colvin) weaves strands of acoustic blues, country ballads, classic jazz, torch songs and pop into a vibrant fabric that is both timeless and thoroughly up to date, with Peyroux’s arresting vocals always front and center. --- madeleinepeyroux.com

Why it took vocalist Madeleine Peyroux eight years to follow up her acclaimed Dreamland album is anybody's guess. The explanation from her website bio claims, "I could have kept running with it, but I took a breather." Really it hardly matters, since there have been plenty of capable singers to fill that void. Produced by Larry Klein, Careless Love is essentially Dreamland part deux. She lost Yves Beauvais and Atlantic Records, as well as a stellar cast of edgy jazz and rock session players, but she did gain Larry Klein. There are some fine players on this album, including Larry Goldings, Scott Amendola, David Piltch, and Dean Parks, and it's a much more focused set than Dreamland. That she's on Rounder is just an "oh well." Since Klein is not reined in by having to be a "jazz" producer, his sense of restrained and subtle adventure is a perfect foil for Peyroux's voice and phrasing, which is still too close to the Billie Holiday model for comfort. The material is a curious collection of modern pop songs, country tunes, and old nuggets. There's an original as well in "Don't Wait Too Long," co-written with Jesse Harris and Klein. Peyroux's reading of Leonard Cohen's "Dance Me to the End of Love" that opens the disc is radical, sung like a German cabaret song, and lacks the drama of the original, which is on purpose but it's questionable as to whether it works.

Her cover of Bob Dylan's "You're Gonna Make Me Lonesome When You Go" works much better. It keeps the breeziness of the original but focuses on the object of the song still being very present to the protagonist -- delighting in the presence of the Beloved. Parks' guitars play sparely and pronouncedly in the mix, as Amendola's brushwork complements the spare cymbal and tom-tom work of Jay Bellerose as well as Goldings' in-the-groove organ and piano. The hinge track on this record is the empathic and moving version of Elliott Smith's "Between the Bars." With tense sound effects whispering in the backdrop and Goldings' celeste setting the atmosphere, once again Amendola's brushes whisper and shimmer, giving the singer an anchor in the depth of the song's melancholy. It's simply awesome. The sparse haunted treatment of Hank Williams' "Weary Blues" is devoid of its country trappings and rooted firmly in the uptown blues tradition of Holiday's 1940s. Likewise, the title track, a classic standard by W.C. Handy, is turned inside out and made a gospel-flavored R&B tune, driven by Goldings on the organ and a Rhodes piano -- an instrument that makes a frequent appearance here. Parks' subtle yet dirty guitar gives the singer a platform and she swims inside the lyric, letting it fall from her mouth. The tune's swing quotient is formidable. In all, this is a stronger record than Dreamland, in part because Klein is obviously sympathetic to singers and because Peyroux is a more confident and commanding singer. It's a welcome addition to the shelf, but if she waits another eight years, that space reserved for her may disappear. --- Thom Jurek, AllMusic Review

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01. Got You On My Mind
02. Tango Till They're Sore
03. The Highway Kind
04. Everthing I Do Gonh Be Funky (From Now On)
05. If The Sea Was Whiskey
06. Hard Times Come Again No More
07. Hello Babe
08. More Time
09. Shout Sister Shout
10. Trampin'

Madeleine Peyroux - vocals, guitar
Jon Herington - guitar
Barak Mori - bass

Recorded at the Parish Church of Saint Mary the Virgin in Great Milton, Oxfordshire, England, Madeleine Peyroux's eighth studio album, 2016's Secular Hymns, finds the vocalist/guitarist delivering a stripped-down, largely acoustic set of warm, eclectic cover tunes. Backing Peyroux this time out are guitarist/vocalist Jon Herington and bassist/vocalist Barak Mori, both highly sought-after New York-based musicians with deep jazz, blues, and rock credits. While technically a studio album, Secular Hymns was recorded as if a live concert, a choice inspired by Peyroux's 2015 performance at the venue. The result is an album that's a 180-degree turn from her previous effort, 2013's ambitious homage to Ray Charles, The Blue Room. Where that album framed Peyroux's earthy vocals in organ, electric guitar, horns, and a lush orchestra, Secular Hymns feels like you are sitting in the front row of an intimate Peyroux concert. Here, Peyroux eases into the session, kicking things off with a supple, harmonized, Western swing-tinged take on John Greer & the Rhythm Rockers' 1951 side "Got You on My Mind." She then struts through Tom Waits' "Tango Till They're Sore," imbuing the song with a wry sensuality that's equal parts Billie Holiday and Marlene Dietrich. Despite the acoustic, minimalist nature of the production, Peyroux still manages to defy expectations, offering up a delicately swaggering take on Allen Toussaint's "Everything I Do Gonh Be Funky (From Now On)" and transforming Linton Kwesi Johnson's reggae anthem "More Time" into a something that sounds improbably like Eartha Kitt doing a cabaret homage to Bob Marley. Thankfully, it works, as do other selections including her more traditional readings of songs like the swinging Sister Rosetta Tharpe number "Shout Sister Shout" and her folky, sad-eyed version of Townes Van Zandt's "The Highway Kind." Particular effective is her bittersweet take on Stephen Foster's parlor song "Hard Times Come Again No More." A poignant rumination on life's inequities and hardships, particularly those visited on the less fortunate in society, the song is a perfect fit for Peyroux's throaty, highly resonant voice, an instrument that has only ripened in the decades since her debut. ---Matt Collar, AllMusic Review

Nowy album zjawiskowej wokalistki i gitarzystki to melanż funka, bluesa i jazzu.

Dwadzieścia lat po debiucie płytowym, jakim był album „Dreamland”, Madeleine Peyroux kontynuuje swoją muzyczną podróż. Na albumie „Secular Hymns”, poszukuje mniej utartych muzycznych dróg, co sprawia, że najnowszy krążek staje się zbiorem eleganckich melodii, tworząc fascynujący melanż funku, bluesa i jazzu.

Ze swoim triem, z którym występuje od dwóch lat (w skład którego wchodzą gitarzysta Jon Herington i basista Barak Mori), Peyroux dokonała nagrania na żywo, o charakterze hymnu mówiącego o samoświadomości i wewnętrznym dialogu.

Wykorzystując swój uwodzicielski głos, Peyroux wykonuje w bardzo intymny sposób melodie oryginalnych artystów bluesowych (dwa utwory są skomponowane przez Willie’ego Dixona, a jeden przez Lil Green), kompozycje klasycznej wokalistki gospel Sister Rosetty Tharpe, trzy utwory cenionych współczesnych kompozytorów (Toma Waitsa, Townesa Van Zandta, Allena Toussainta), utwór dziewiętnastowiecznego twórcy Stephena Fostera uważanego za pierwszego wielkiego amerykańskiego autora piosenek, i wreszcie kończąc tradycyjnym afrykańsko-amerykańskim negro spiritualsem.

Chociaż Peyroux podkreśla, że odeszła daleko od „normalnego jazzowego tria”, jej jazzowa wrażliwość jest wyczuwalna w tej muzyce należącej do nurtu muzyki korzeni. ---jazzforum.com.pl

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01. Instead 
02. Bare Bones 
03. Damn the Circumstances 
04. River of Tears 
05. You Can't Do Me 
06. Love and Treachery 
07. Our Lady of Pigalle 
08. Homeless Happiness 
09. To Love You All Over Again 
10. I Must Be Saved 
11. Somethin' Grand

Musicians:
    Madeleine Peyroux — Vocals, Acoustic guitar
    Larry Klein — Bass, Producer
    Vinnie Colaiuta — Drums
    Dean Parks — Electric guitar
    Jim Beard — Piano
    Larry Goldings — Hammond Organ, Estey Organ
    Carla Kihlstedt — Violin
    Luciana Souza — Backing vocals
    Rebecca Pidgeon — Backing vocals

Madeleine Peyroux's fourth album isn't the normal mix of standards (contemporary or traditional) with a few songs of her own composing; each of the 11 tracks is a new song written by Peyroux, usually in tandem with producer Larry Klein or a guest. Still, she appears in her usual relaxed setting, with a small group perfectly poised to translate her languorous vocals into perfect accompaniment -- organist Larry Goldings, pianist Jim Beard, drummer Vinnie Colaiuta, plus producer Klein on bass, Dean Parks on guitar, and Carla Kihlstedt on violin. Fans of vocal jazz may be disappointed to see that all the songs are new ones -- many a great conversation could consist solely of the standards she should perform -- but they may regret the disappointment. Peyroux is not only a great interpreter of songs, she also knows how to write in what might be called the old-fashioned way, the type of song with a universal, direct, emotional power that became a rarity during the late 20th century. Also, the help she gets from her co-writers -- Walter Becker of Steely Dan, Klein, and friend Julian Coryell -- is priceless. Becker delivers a pair of special gems, including the title track and a song called "You Can't Do Me" that delivers the priceless cutting wit he perfected with Steely Dan (a sample: "You know I get so blue and I go/Down like a deep sea diver, out like a Coltrane tenor man.../Blewed like a Mississippi sharecropper, screwed like a high-school cheerleader"). Granted, Peyroux faces an uphill climb by delivering new songs in the same musical context that most listeners hear standards; after all, comparisons to the half-century of American popular song aren't fair, but they certainly come easy. Still, Bare Bones is a remarkable work from one of the best artists in vocal jazz. ---John Bush, Rovi

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01 – Take These Chains
02 – Bye Bye Love
03 – Changing All Those Changes
04 – Born To Lose
05 – Guilty
06 – Bird On The Wire
07 – I Can’t Stop Loving You
08 – Gentle On My Mind
09 – You Don’t Know Me
10 – Desperados Under The Eaves
11 – I Love You So Much It Hurts

Personnel: 
Madeleine Peyroux - vocals; 
Larry Goldings - keyboards; 
Dean Parks - guitars; 
David Piltch - bass; 
Jay Bellerose - drums.

The nucleus of Madeleine Peyruoux's The Blue Room is Ray Charles' Modern Sounds In Country And Western Music (ABC, 1962). It was an idea percolating in the brain of long-time Peyroux producer Larry Klein, who was considering a re-examination of the Charles classic and evolved into something more than a simple homage, something with the same intention as Charles had fifty years ago. Collaborating with Peyroux, Klein decided on other songs the two favored, adding to the Charles Country canon Randy Newman's "Guilty," Warren Zevon's "Desperado's Under the Eaves" and John Hartford's "Gentle On My Mind," as well as Leonard Cohen's "Bird on a Wire" and the rare "Changing All Those Changes" by Buddy Holly. The result is this ravishing collection of North Americana.

Using only the sparest core keyboard-guitar quartet led by Larry Goldings, Peyroux re-imagines this material, giving its spirit a second generation of consideration. The Charles material was provocative and controversial to begin with, bucking the conventional wisdom of the period recording industry, earning its I-told-you-so genius rating for Charles. While Peyroux's approach is not as shockingly genre-shattering, it is nevertheless a progression using this older music as a vehicle to great effect. Regarding the Charles material, Goldings' use of electric piano is a nice tip-of-the-hat to Charles a la "What'd I Say?" as Vince Mendoza's strings arrangements are for the same.

Peyroux's voice is a paradox. Clearly informed by Billie Holiday, for which she has been criticised and praised, Peyroux has assimilated this influence into an instrument as unique as it is progressive. She infuses this famous music with a languid pathos, whose essence is like that familiar but undefinable aroma wafting from the family memory kitchen. "Bird on a Wire" and "Gentle on My Mind" are all morphine and molasses while "Desperado Under the Eaves" and "Guilty" are polished to an antique brass gleam. Peyroux is using a formula used earlier by Cassandra Wilson in the 1990s, one where pop, country and folk songs are given a contemporary makeover. Where Wilson did this very organically, Peyroux retains the more modern jazz trappings, conservatively rendering the old music to make some of the most progressive mainstream art realized. – C. Michael Bailey, allaboutjazz.com

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