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Vocale jazz - Verschenen op 31 augustus 2018 | Universal Music Division Decca Records France

Hi-Res Booklet
That Leonard Cohen is still offering inspiration should come as no great surprise. Dubbing her album Anthem after a song by the Canadian singer, Madeleine Peyroux shows us her hand from the off. Perhaps it's her desire to get shot of the ghost of Billie Holiday to whom she has often been compared… But in 2018, Madeline Peyroux is very much Madeleine Peyroux! Style, voice, writing, she has mastered every part of her art and has nothing left to prove. This time, she leaves covers behind and offers new songs, written or co-written with Patrick Warren (Bonnie Raitt, Bob Dylan, Bruce Springsteen), Brian MacLeod (Leonard Cohen, Tina Turner), David Baerwald (Joni Mitchell, Sheryl Crow) and producer Larry Klein (Joni Mitchell, Shawn Colvin, Herbie Hancock). The lyrics are often politically-engaged, and she sets them lovingly to soft-to-downright-melancholy music. The overall effect is one of weightlessness. The arrangements and the production have a velvety feel, and while she takes on Paul Eluard's powerful poem Liberté, she does it with a delicate touch that renders the words even stronger. As is often the case with Peyroux, the boundaries between jazz, pop, soul, blues and folk are savvily blurred together. This makes for a great showcase for her voice, one of the most addictive of her generation. © Max Dembo/Qobuz
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CD€ 14,99

Vocale jazz - Verschenen op 31 augustus 2018 | Universal Music Division Decca Records France

Booklet
That Leonard Cohen is still offering inspiration should come as no great surprise. Dubbing her album Anthem after a song by the Canadian singer, Madeleine Peyroux shows us her hand from the off. Perhaps it's her desire to get shot of the ghost of Billie Holiday to whom she has often been compared… But in 2018, Madeline Peyroux is very much Madeleine Peyroux! Style, voice, writing, she has mastered every part of her art and has nothing left to prove. This time, she leaves covers behind and offers new songs, written or co-written with Patrick Warren (Bonnie Raitt, Bob Dylan, Bruce Springsteen), Brian MacLeod (Leonard Cohen, Tina Turner), David Baerwald (Joni Mitchell, Sheryl Crow) and producer Larry Klein (Joni Mitchell, Shawn Colvin, Herbie Hancock). The lyrics are often politically-engaged, and she sets them lovingly to soft-to-downright-melancholy music. The overall effect is one of weightlessness. The arrangements and the production have a velvety feel, and while she takes on Paul Eluard's powerful poem Liberté, she does it with a delicate touch that renders the words even stronger. As is often the case with Peyroux, the boundaries between jazz, pop, soul, blues and folk are savvily blurred together. This makes for a great showcase for her voice, one of the most addictive of her generation. © Max Dembo/Qobuz
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Jazz - Verschenen op 16 september 2016 | Universal Music Division Decca Records France

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 /TiVo
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Jazz - Verschenen op 19 mei 2017 | Universal Music Division Decca Records France