Madeleine Peyroux - Let's Walk

Styles: Vocal
Year: 2024
Time: 42:13
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(4:01) 1. Find True Love
(4:14) 2. How I Wish
(4:52) 3. Let's Walk
(4:52) 4. Please Come On Inside
(4:17) 5. Blues for Heaven
(4:02) 6. Et Puis
(3:35) 7. Me and the Mosquito
(4:12) 8. Nothing Personal
(4:01) 9. Showman Dan
(4:03) 10. Take Care

My focus on albums is to review the music, performance & production. So as far as topics & themes chosen I avoid editorializing since I’m not preoccupied with the artist’s thrust or influence. However, tender subjects can be difficult to navigate since hypocrisy can taint the well-intentioned singer-songwriter. Fortunately, that’s not evident here. These plaintive, lively, well-recorded & deftly handled creative fingertips that touch the surface water seldom venture into dark depths. Madeleine Peyroux cruises through each piece diplomatically, honestly & with beauty & sensibility.

Ms. Peyroux, who I’d seen at The Bottom Line in NYC years ago after hearing her “Dreamland” CD has always been an artist who was a curiosity. Yes, she sometimes has that obvious Billie Holiday with singing lessons tone, but it’s also how she conveys an Edith Piaf classiness. There’s no energetic Joan Armatrading approach, deep tonality of a bluesy-jazz chanteuse like Cassandra Wilson, or sultry deep timbre of Bird York

But what is brought out is the full blossom of 10 unadorned beauties on Let’s Walk (Drops June 28/Just One/Thirty Tigers/42:13) produced by Elliot Scheiner, Jon Herington (guitars/mandolin/marimba sample/synth/vocals/bass) & Ms. Peyroux (vocals/acoustic guitar)

Here, it’s the silkiness of the voice through English ballads, French & Spanish easy listening & melodically solid tunes conveyed with care taken to create something well beyond the mainstream frame. There’s just a marvelous musical sway Madeleine manages to penetrate the seams of a deep ear & travel directly into the heart as well as the soul.

She even has the coolness of a Rickie Lee Jones (“Showman Dan”) with all the old-world spiritual menagerie & finger-popping jive of 52nd Street NYC jazz clubs circa 1945. Madeleine is a study in Style that was hip decades ago but makes you wonder if it ever really left. She doesn’t sound nostalgic at all. She brings the déjà vu.

This is Madeleine’s first album in 6 years & while some may think she’s spread herself thin with all the genres she touches upon the expertise she displays warrants it. She’s daring, diversified & in some spots dare I say, humorous. She’s one of the few artists I’d see again & she doesn’t use laser beams, smoke machines, or 100 dancing girls in flimsy outfits behind her.
https://alleyesmedia.com/lets-walk-madeleine-peyrouxs-most-eclectic-and-courageous-album-to-date-set-for-june-28th-release/

Highlights: “Let’s Walk,” “Please Come On Inside,” “Blues For Heaven,” “Et Puis,” “Me & the Mosquito,” “Nothing Personal” & “Showman Dan.

Musicians: Paul Frazier (bass), Graham Hawthrone (drums/percussion), Andy Ezrin (Hammond organ/vox continental/harmonium/piano/Rhodes/Wurlitzer/orchestral bells), Stan Harrison (clarinets), Catherine Russell, Cindy Mizelle & Keith Fluitt (vocals).

Let's Walk

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Karrin Allyson Sextet - Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:57
Size: 117,8 MB
Art: Front

(1:58)  1. Preamble
(3:17)  2. The March of the Women
(4:40)  3. The Great Convention
(1:38)  4. Susan B. Anthony (1873)
(3:30)  5. I’ll Be No Submissive Wife
(1:34)  6. Frederick Douglass (1888)
(4:11)  7. Anti Suffrage Rose
(2:41)  8. She’s Good Enough To Be Your Baby’s Mother
(1:38)  9. Elihu Root (1894)
(3:48) 10. Columbia’s Daughters
(1:43) 11. Sojourner Truth (1851)
(3:49) 12. The Promised Land
(4:34) 13. Winning the Vote
(1:35) 14. Alice Paul (1921)
(4:18) 15. Way Down Below
(4:57) 16. Big Discount

The Karrin Allyson Sextet releases Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage, a very special and timely album, today to celebrate the centennial of women’s voting rights. In addition to five-time Grammy nominee Karrin Allyson, the sextet also features Ingrid Jensen (trumpet),Mindi Abair (alto saxophone) Helen Sung (piano),Endea Owens (bass), and Allison Miller (drums). Shoulder to Shoulder seeks to re-create the multi-decade debate  warts and all that culminated in the enactment of t he nineteenth amendment. “We want to highlight this significant movement in American history. One that we shouldn’t forget and that is relevant today. It’s also one in which music played an important role,” said Karrin Allyson.

A remarkable artist, Allyson is also an activist who feels equally comfortable on the bandstand, as she does at the podium making the case for women’s rights. In fact, she has a history of writing songs (“Big Discount,” “Way Down Below”) that challenge conventional political wisdom and call for societal change. Most of t hese songs are propaganda. They were composed in the nineteenth or early twentieth century to advance or abridge women’s voting rights. In fact, the “suffrage” repertoire is made up of hundreds of songs, and Allyson and the productio n team selected ones that typified the back -and-f or th debate of t he struggle. That these songs can be re-imagined speaks not only to their timeless quality but the power of music in advancing social movements. The “war” over women’s rights was waged, in part, through and by music. And here these songs are made relevant again through modern jazz. Because of t he theme’s inclusive import, Allyson and the production team invited several notable guests to “lend their voices” to the debate. Adding copious artists can risk turning any project from a cohesive musical statement to a “gathering place.” Alas,Allyson’s powerful and profound vocals provide the through line and beginning-to-end narrative arc of the entire production. This album is very much a story. 

And Allyson is its storyteller, with each guest thoughtfully featured to dramatize historical episodes in the women’s suffrage movement. Shoulder to Shoulder has an incredible array of featured artists. Guest appearances by Madeleine Peyroux (vocals),Kurt Elling (vocals),Regina Carter (violin),Denis e Donatelli (vocals), Veronica Swift (vocals), Rapsody (rap),Antonia Bennett (vocals),Emily Estefan (vocals),Pauline Jean (vocals),Olivia Culpo (cello) and a Choir of over forty Women's Rights Activists. There are several spoken word performances that re-create the debateover woman’s suffrage: Harry Belafonte performs a speech by Frederick Douglass, Rosanne Cash performs a speech by Susan B. Anthony, Julie Swidler performs a speech by Alice Paul,Lalah Hathaway performs a speech by Sojourner Truth, and Peter Eldridge performs a speech by Elihu Root. There is even a brief appearance by Roberta Flack on the album. Susan Morrison of The New Yorker serves as an Executive Producer of the project, which was produced by multi-Grammy winners Kabir Sehgal, John Daversa, and Doug Davis.more..... https://karrin.com/wp-content/uploads/2019/09/S2S-Press-Release.pdf

Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

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Peter Ecklund - Gigs Reminiscing In Music

Styles: Cornet Jazz
Year: 1999
File: MP3@320K/s
Time: 62:06
Size: 144,4 MB
Art: Front

(2:55)  1. Say It With A Kiss
(4:40)  2. Winter Waltz
(4:41)  3. Django And Bix
(5:38)  4. Blues My Naughty Sweetie Gives To Me
(3:34)  5. Blue Bix
(3:42)  6. When You're Smiling
(2:47)  7. Russian Lillaby
(5:23)  8. Tailfins
(4:16)  9. My Blue Heaven
(4:02) 10. Fuddy Duddy
(3:27) 11. When You And I Were Young, Maggie
(5:12) 12. At The Track
(4:12) 13. At The Fair
(3:51) 14. Midnight Hour Blues
(3:38) 15. Blackey's Song

A veteran sit-in cornetist with various Dixieland bands and the backup groups of Leon Redbone, David Bromberg, and more recently Madeleine Peyroux, Ecklund's folk-derived swing is expressed through a variety of different combos on these 15 cuts, eight written by the leader. Some feature dual acoustic guitarists Peyroux and Steve Cardenas, others mandolinist David Grisman and guitarist Frank Vignola, with Marty Grosz (guitar), Dan Block (woodwinds) and Keith Ingham (celeste), or Jay Ungar (violin) and Molly Mason (guitar). Cameos come from clarinetists Ken Peplowski and Bobby Gordon, Howard Johnson (tuba), and Warren Bernhardt (Fender Rhodes). The most focused, centralized group is the Grisman-Vignola band with bassist Murray Wall. They do the delicate, swaying "Winter Waltz," the more intense, off-the-cuff, cornet-driven "Blues My Naughty Sweetie Gives (Gave) to Me" (trading riffs at the coda), the Bix Beiderbecke-derived easy swing of "Blue Bix," and the hardest swinger "Russian Lullaby," where Grisman steps up and hits a triple. Cardenas and Peyroux softly strum while Peplowski leads in midtempo during "Django & Bix," and evoke strains of "My Old Kentucky Home" during "When You & I Were Young, Maggie." The celeste adds a quaint sound to Block's clarinet and Ecklund's old-timey horn on "Say It With a Kiss"; meanwhile, Block's big baritone sax bolsters "When You're Smiling," as does his alto during "Fuddy Duddy," with Grosz's ever-present swing nailing it down. Ungar and Gordon's strings tiptoe through tulips on Leroy Carr's "Midnight Hour Blues," go serene and plaintive for "At the Fair," and swing much harder on "Blackey's Song," replete with whistling and Guy Fischetti's pedal steel. Gordon's daunting and darting feature is "My Blue Heaven," the best individual solo on the date, while the best overall number is the quickly paced "At the Track," holding the Dixie pulse at fever pitch courtesy of Cynthia Sayer's hot banjo and Johnson's bawdy tuba oompahs. Ecklund has a thinnish sound, not bold and brash a la Louis Armstrong or Bix, but reserved and refined, and sublimates his role for an overall group sound. This CD represents a good concept and execution of bringing '20s & '30s jazz into the '90s with players who know how. ~ Michael G.Nastos https://www.allmusic.com/album/gigs-reminiscing-in-music-mw0000054279

Personnel: Peter Ecklund (cornet, bugle); Dan Block (alto & baritone saxophones, clarinet); Howard Johnson (tuba); Ken Peplowski (clarinet); Jay Ungar (violin); Warren Bernhardt (Fender Rhodes piano); Steve Cardenas (acoustic & electric guitars); Madeleine Peyroux (acoustic guitar); Peter Davis (electric guitar, banjo); Molly Mason, Frank Vignola (guitar); David Grisman (mandolin); Greg Cohen, Pete Toigo (bass); Gary Burke (drums).

Gigs Reminiscing In Music

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Madeleine Peyroux - Anthem

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 53:27
Size: 125,9 MB
Art: Front

(4:04)  1. On My Own
(4:58)  2. Down On Me
(4:34)  3. Party Tyme
(5:24)  4. Anthem
(3:57)  5. All My Heroes
(4:15)  6. On A Sunday Afternoon
(4:56)  7. The Brand New Deal
(5:19)  8. Lullaby
(3:59)  9. Honey Party
(4:13) 10. The Ghosts Of Tomorrow
(3:14) 11. We Might As Well Dance
(4:29) 12. Liberté

Having already transitioned from traditional acoustic jazz and blues to her own eclectic folk and pop-leaning originals on past albums, Madeleine Peyroux once again embraces the latter on 2018's Anthem. Named after the Leonard Cohen song that she covers with emotive precision here, Anthem finds the former busker turned chanteuse working with longtime producer/instrumentalist Larry Klein and a bevy of highly regarded performers, including guitarist Dean Parks, organist Patrick Warren, drummer Brian MacLeod, and others. Also joining in at various times are saxophonist Chris Cheek, drummer Jay Bellerose, and vocalist Luciana Souza, who does not sing but instead adds subtle percussion accents. Although capable of tackling standards and traditional songs with a sophisticated lyricism, Peyroux is, at her core, a bohemian storyteller, a folksinger in the vein of Rickie Lee Jones and the aforementioned Cohen. While some listeners may prefer her more acoustic, jazz-oriented albums, many of her songs on Anthem achieve a similar level of nuance and sophistication, while also revealing her own literate point of view. This is especially true on the Harry Nilsson-esque "All My Heroes," in which she ruminates on the imperfection of her idols. She sings "All my heroes were failures in their eyes/Losers, drunkards, fallen saints, and suicides." Similarly engaging is "The Brand New Deal," in which she croons with wry cynicism about modern capitalist culture against a breezy, Steely Dan-sounding fusion groove. 

There's also a knowingly cheeky even kitschy quality to some of the tracks, as on the twangy, baritone guitar-led Latin lounge number "Honey Party." She also takes a similarly cheeky approach on the buoyant "On a Sunday Afternoon," in which she expounds upon the medicinal freedoms of the weekend, singing "Oh yeah, it's a Sunday afternoon/Got Cap'n Crunch, and reefer, and old cartoons." There are also several dusky, literate moments including the languidly hopeful "We Might as Well Dance" that, as with much of Anthem, seem to speak to Peyroux's particularly Zen view of the world. ~ Matt Collar https://www.allmusic.com/album/anthem-mw0003185505

Anthem

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Madeleine Peyroux - Secular Hymns

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 33:14
Size: 77,9 MB
Art: Front

(4:28)  1. Got You On My Mind
(3:21)  2. Tango Till Theyre Sore
(2:43)  3. The Highway Kind
(3:12)  4. Everything I Do Gonh Be Funky (From Now On)
(3:05)  5. If The Sea Was Whiskey
(4:13)  6. Hard Times Come Again No More
(3:08)  7. Hello Babe
(3:19)  8. More Time
(2:40)  9. Shout Sister Shout
(3:00) 10. Trampin

Remarkably, Madeleine Peyroux's Secular Hymns comes twenty years after her debut release, Dreamland (Atlantic, 1996), which catapulted her into the public eye and garnered heaps of praise. Since then her voice has often been compared to mid-career Billie Holiday, and that comparison remains valid on Secular Hymns. Some singers would find that a millstone around their neck, but Peyroux continues to wear it well. It is surprising that, two decades since Dreamland, this is only her seventh solo album release. Those albums have never settled into a predictable pattern for instance, some have contained mainly Peyroux originals, others few or none at all but her name long ago became a guarantee of high quality music. Coming on the heels of the Ray Charles-inspired The Blue Room (Decca/EmArcy, 2012), Secular Hymns again ploughs a new furrow. Rather than the larger groups that have featured on some of her albums, here she is just joined in her current touring trio by Steely Dan guitarist Jon Herington and Israeli-born bassist Barak Mori. The album was recorded in a 200-seater, twelfth-century Norman-styled church in Oxfordshire, at which the trio had played a concert-dinner event. Very taken with the way her voice sounded in the space, Peyroux and her live engineer, Doug Dawson, decided she should record an album there. That happened some months later at a free live show for the townspeople. The results fully justify the decision, as the sound is first-rate while the atmosphere brought out the best in the trio. The three together produce enough music with two guitars, double bass and voices to fill out the soundscape, so it never feels as if anything more should have been added.

There are no Peyroux compositions among the ten songs which cover an impressively broad time span and range of styles from the traditional spiritual "Trampin" and Stephen Foster's 1854 song "Hard Times Come Again No More" right through to contemporary composers Tom Waits, Townes Van Zandt and Linton Kwesi Johnson. As ever, Peyroux's voice perfectly conveys every song's emotions, no matter how poignant the subject matter. On past albums she has repeatedly demonstrated her ability to sing the blues on songs by Bessie Smith and Robert Johnson, and on recordings with "Pinetop" Perkins. Here, her version of Willie Dixon's "If The Sea Was Whiskey" again showcases that ability. For many listeners and maybe for Peyroux herself the track "Everything I Do Gonh Be Funky (From Now On)" will be especially poignant as its composer, the New Orleans legend Allen Toussaint, died suddenly while on tour in Europe, less than a year before this album's release. Toussaint played piano in the band on Peyroux's fine Standing on the Rooftop (Decca/EmArcy, 2011). The YouTube clip of the song below was filmed at the recording of Secular Hymns. This album is a delight from start to finish, without a single track that is less than excellent. Peyroux continues to go from strength to strength. ~ John Eyles https://www.allaboutjazz.com/secular-hymns-madeleine-peyroux-impulse-review-by-john-eyles.php

Personnel: Madeleine Peyroux: vocals, guitar: Jon Herington: guitar; Barak Mori: bass.

Secular Hymns

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Madeleine Peyroux - Keep Me In Your Heart For A While: The Best Of Madeleine Peyroux CD 1 And CD 2

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 54:01 (CD 1)
Size: 128,4 MB (CD 1)
Time: 54:11 (CD 2)
Size: 128,5 MB (CD 2)
Art: Front

CD 1

(3:11)  1. Don't Wait Too Long
(3:26)  2. You're Gonna Make Me Lonesome When You Go
(3:14)  3. (Getting Some) Fun Out Of Life
(3:45)  4. Between The Bars
(3:29)  5. I'm All Right
(3:22)  6. La Vie En Rose
(4:23)  7. Half The Perfect World
(3:58)  8. Dance Me To The End Of Love
(4:01)  9. Smile
(4:01) 10. Once In A While
(3:58) 11. The Summer Wind
(3:53) 12. Careless Love
(3:55) 13. Guilty
(5:20) 14. Desperadoes Under The Eaves

CD 2

(3:10)  1. Changing All Those Changes
(2:56)  2. J'Ai Deux Amours
(5:22)  3. River Of Tears
(3:43)  4. The Things I’ve Seen Today
(4:38)  5. Damn The Circumstances
(4:12)  6. La Javanaise
(4:00)  7. The Kind You Can't Afford
(3:29)  8. Bye Bye Love
(4:49)  9. Walkin' After Midnight
(5:47) 10. Standing On The Rooftop
(5:14) 11. Instead
(3:35) 12. Keep Me In Your Heart
(3:10) 13. This Is Heaven To Me

Vocalist and composer Madeleine Peyroux has a stylistic reach well beyond that of jazz. Her only peer in this respect is Nora Jones. True, she has a great fascination with Billie Holiday, but she has managed to assimilate this influence into her own presence and parlay it into the para-jazz realm with intelligent programming and song choice. These have been the hallmark of Peyroux's art over her six recordings.

Peyroux's music is beautifully crafted and organic with more polish than late '90s Cassandra Wilson. The instrument choice on a given song is as carefully chosen as the song itself; careful programming being another hallmark of Peyroux's art. Her book is no rubber-stamp of the Great American Songbook, assaulted yet another time. Charlie Chaplin's "Smile" is the closest thing to a standard in this collection (from Half a Perfect World, (Rounder, 2006)). It is delivered with spare instrumentation and a gently strolling tempo.

Peyroux's cover of Edith Piaf's iconic "La Vie En Rose" is perfect in its sardonic spirit, begging the question why Piaf has not provided much more material to contemporary singers to interpret. Randy Newman's "Guilty" is given a sleek, Ray Charles circa 1963 strings treatment. Her singing is closely set among the elaborate instrumentation, bearing a slight sepia tone without sounding archival. Part of Peyroux's genius lies in her melding of the new and the old into something that is both new and familiar.

Notable are the inclusion of two Warren Zevon pieces, making Peyroux Zevon's biggest benefactor since Linda Ronstadt. "Desperados Under the Eaves" is delicately provocative, sung in a comely and humid fashion. This is grown-up Zevon, performed with intent and grace. "Keep Me in Your Heart," one of Zevon's last songs is given a plaintive treatment demonstrating the extent of Peyroux's evolution from the album opener, "Don't Wait Too Long." In an age when a "Best of" compilation is suspect in the absence of the 45 rmp record (downloads are meaningless), it says a lot to release a recording like this. A collection of Peyroux's best is long overdue. ~ C.Michael Bailey  http://www.allaboutjazz.com/keep-me-in-your-heart-for-a-while-the-best-of-madeleine-peyroux-madeleine-peyroux-rounder-records-review-by-c-michael-bailey.php#.VEaKqMlNeKU

Personnel: Madeleine Peyroux: vocals and guitar; Dean parks: guitars (1-3, 5, 6, 8-11, 13, 15); Larry Goldings: keyboards (1-3, 5, 9, 11, 15); David Piltch: bass (1-3, 5-8, 15); Jay Bellerose: drums (1-3, 5, 8-11, 15). Cyrus Chestnut: piano (4); Steve Kirby: bass; Leon Parker: drums; Sam Yahel: keyboards (6, 8, 10); Till Bronner: trumpet (6); Scott Amendola: drums (6, 8); Mark Ribot: guitar (7, 12); Regina Carter: violin (7); Charlie Giordano: accordion (7); Gary Foster: alto saxophone (8); Christopher Bruce: guitar (12); Charlie Drayton: drums (12); John Kirby: keyboards (12); Meshell Ndegcello: bass (12); Larry Klein: bass (13); Vinnie Colaluta: drums (13); Jim Beard; piano (13); Duke Vinnie: guitar, bass (14); Jane Scarpantoni: cello (14); Robert Burke: drums(14); Lee Thornberg: trumpet (15).

Keep Me In Your Heart For A While: The Best Of Madeleine Peyroux CD 1, CD 2

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Madeleine Peyroux - The Blue Room

Styles: Jazz, Vocal
Year: 2013
File: MP3@320K/s
Time: 46:31
Size: 106,7 MB
Art: Front

(3:12)  1. Take These Chains
(3:28)  2. Bye Bye Love
(3:10)  3. Changing All Those Changes
(4:27)  4. Born to Lose
(3:50)  5. Guilty
(5:37)  6. Bird On the Wire
(4:18)  7. I Can't Stop Loving You
(6:42)  8. Gentle On My Mind
(4:01)  9. You Don't Know Me
(4:20) 10. Desperados Under the Eaves
(3:21) 11. I Love You So Much It Hurts

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  http://www.allaboutjazz.com/the-blue-room-madeleine-peyroux-emarcy-review-by-c-michael-bailey.php#.U8lrb7FryM0 

Personnel: Madeleine Peyroux: vocals; Larry Goldings: keyboards; Dean Parks: guitars; David Piltch: bass; Jay Bellerose: drums; Larry Klein: arrangements; Vince Mendoza: string arrangements.

The Blue Room

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Martinho Da Vila - Duetos

Bitrate: 320K/s

Time: 80:04

Size: 183.3 MB

Styles: Latin jazz

Year: 2014

Art: Front

[3:48] 1. Ó Nêga (Feat. Sally Nyolo)

[5:26] 2. Danadinho Danado (Feat. Simone) [ao Vivo]

[2:42] 3. Pelo Telefone (Feat. Vó Maria) [ao Vivo]

[3:32] 4. Nota De Cem (Feat. Tunico Ferreira) [ao Vivo]

[3:41] 5. Dar E Receber (Feat. Kátia Guerreiro)

[3:06] 6. Uma Casa Nos Ares (La Casa En El Aire) [feat. Rosário Flores]

[2:46] 7. Um Dia Tu Verás (Un Jour Tu Verras) [feat. Nana Moskouri]

[5:11] 8. Um Beijo, Adeus (Prima Dammi Un Bacio) [feat. Mafalda Minnozzi]

[3:42] 9. O Amor Da Gente (Feat. Negra Li)

[4:30] 10. Madeleine, I Love You (Madalena Do Jucu) [feat. Madeleine Peyroux]

[4:56] 11. Nossos Contrastes (Feat. Cidade Negra)

[4:59] 12. Dê Uma Chance Ao Amor (Take A Chance On Love) [feat. Eliana Pitman]

[3:56] 13. Por Ti América (Feat. Fito Páez)

[3:34] 14. Filosofia De Vida (Feat. Ana Carolina)

[5:13] 15. Agradeço À Vida (Gracias A La Vida) [feat. Paula Tribuzy]

[2:55] 16. Jobiniando (Feat. Maíra Freitas)

[5:18] 17. Lara (Feat. Mart'nália)

[3:35] 18. O Amor Da Gente Casa De Bamba (Feat. Juju Ferreirah)

[3:43] 19. Que Bom! (Feat. Analimar Ventapane)

[3:22] 20. Cuca Maluca (Feat. Ovídio Britto)

An important composer of the samba of the hills, Martinho da Vila has written many successful sambas-enredo (the vehicles for the parades of the samba schools during the Carioca Carnival). As a composer and interpreter, he has recorded more than 30 LPs and CDs, some of which have sold over one million copies. His songs have been recorded by many interpreters, among them Simone, Beth Carvalho, Roberto Ribeiro, and Alcione.

At 13, da Vila began to frequent the Escola de Samba Aprendizes da Boca do Mato. At 15, he wrote the samba de terreiro "Piquenique." In 1957, he began to write one samba-enredo per year for his samba school's parade, beginning with "Carlos Gomes" in that year, and following with "Tamandaré" (1958), "Machado de Assis" (1959), "Rui Barbosa na Conferência de Haia" (1960), and nine others in subsequent years. Along with the role of composer, he also was the mestre de harmonia of that school. In 1965, the school paraded to his samba "Construtores da Cidade do Rio de Janeiro," and in the next year he moved to G.R.E.S. Unidos de Vila Isabel (where he developed a new style of samba-enredo) and adopted the nickname Martinho da Vila. In 1967, he participated in the III FMPB with the partido-alto "Menina moça." In the same year, he appeared in the show A Fina Flor do Samba, at the Teatro Opinião (Rio), singing his songs. The samba school Unidos de Vila Isabel paraded in the same year with his "Carnaval de ilusões" (with Gemeu). In 1968 and 1969, he continued to have his sambas-enredo sung by escolas de samba, having Eliana Pittman sing (with Rodolfo de Souza) his "Laiá do cais dourado" in the latter year. In 1968, he appeared in the show Samba Autêntico, No. 1 and in the IV FMPB, with "Casa de bamba." The samba was included on his first LP, released in the same year through RCA Victor. The group A Voz do Samba (of whom he was a member) recorded an LP with his songs in 1970. "Segure tudo" reached the hit parade in 1972, and with "Canta, canta, minha gente" and "Disritmia," he broke sales records in 1974. He continued composing the annual samba-enredo for the Unidos da Vila Isabel throughout the following years. His Tá delícia, tá gostoso (Sony, 1995) album sold 1.5 million copies. He had an entire album dedicated to his compositions by singer Simone in 1996 (Café com leite). He launched new talents of the samba community, like the groups Compassos da Vila and Roda de Saia, and the sambistas Agrião and Tiago Mocotó. Active as a black awareness proponent, he promoted interchanges with Africa in shows, lectures, and albums. https://itunes.apple.com/jp/artist/martinho-da-vila/id3735794?l=en or http://emovietorrents.com/music/44983-martinho-da-vila-duetos-2014.html

Duetos

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Madeleine Peyroux - Bare Bones

Styles: Adult Contemporary
Year: 2009
File: MP3@320K/s
Time: 49:59
Size: 114,4 MB
Art: Front

(5:13)  1. Instead
(3:26)  2. Bare Bones
(4:37)  3. Damn The Circumstances
(5:21)  4. River Of Tears
(5:04)  5. You Can't Do Me
(4:20)  6. Love And Treachery
(5:28)  7. Our Lady Of Pigalle
(3:59)  8. Homeless Happiness
(3:59)  9. To Love You All Over Again
(4:45) 10. I Must Be Saved
(3:44) 11. Somethin' Grand

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  http://www.allmusic.com/album/bare-bones-mw0000806826

Bare Bones

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Madeleine Peyroux - Careless Love

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 42:55
Size: 98,3 MB
Art: Front + Back

(3:57)  1. Dance Me To The End Of Love
(3:11)  2. Don't Wait Too Long
(3:18)  3. Don't Cry Baby
(3:27)  4. You're Gonna Make Me Lonesome When You Go
(3:45)  5. Between The Bars
(3:33)  6. No More
(3:11)  7. Lonesome Road
(2:56)  8. J'ai Deux Amours
(3:40)  9. Weary Blues
(4:48) 10. I'll Look Around
(3:51) 11. Careless Love
(3:11) 12. This Is Heaven To Me

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  http://www.allmusic.com/album/careless-love-mw0000686575 

Careless Love            

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Madeleine Peyroux & William Galison - Got You on My Mind

Styles: Jazz Vocals
Year: 2004
File: MP3@320K/s
Time: 41:51
Size: 96,5 MB
Art: Front

(2:34)  1. Back In Your Own Backyard
(3:17)  2. J'ai Duex Amours
(3:04)  3. Flambee Mantalbanese
(4:18)  4. Got You On My Mind
(3:41)  5. Jealous Guy
(3:04)  6. The Way You Look Tonight
(3:19)  7. Rag for Madi
(4:42)  8. Playin'
(5:09)  9. Shoulda Known
(4:05) 10. Heaven To Me
(4:32) 11. Heaven Help Us All

The trippy, cinematic journey that is William Galison and Madeleine Peyroux's new album, Got You On My Mind , opens with the bright, swinging glee of "Back In Your Own Backyard." It sways through the happily plaintive "J'ai Deux Amours," swaggers through a Charlie Chaplin-in-Technicolor "Rag For Madi," and continues on this diversely scenic escapade for eleven deeply touching tracks. Meanwhile, hallucinations of a passionate Josephine Baker sauntering past Montmartre cafés, a dust-kickin' John Lennon strolling through a corn field and lovers everywhere, aching with tumult, dancing with blissful indulgence flash through the mind.

Peyroux's husky, full-throated voice brings to mind one iconic, white gardenia-wearing lady. The way her inflection lilts up and quivers for a few suspended moments, like in "Heaven To Me" when she breaks the word "heaven" in two, make you think Billie Holiday must be standing behind her breathing through Peyroux's brown locks. Other times, she sings with a lovely, tarnished allure, cut with a hint of tartness like a Granny Smith apple, like on the samba-infused "The Way You Look Tonight."

In July, Peyroux sang and played guitar at the Blue Note with her band (keyboardist Adam Holzman, bassist Andy McKee, drumer Ben Perowski). Her ageless presence oscillated between youthful, adolescent exuberance, to the bittersweet melancholy of a woman who has known a broken heart quite intimately. She connected with her audience, locking eyes until you began to wonder if you were the one in the song who gave her those flowers.

Seven tracks on the album feature Galison's harmonica. At times mournful, at times wild, he always displays superb control over the tiny instrument, whether weaving through Peyroux's vocals in "Heaven To Me," rambling out a boogie-down solo in "J'ai Deux Amours," mingling with Brad Terry's clarinet in "Rag For Madi," or mixing with Shawn Pelton's drums, Tony Garnier's bass and Brian Mitchell's piano to create the fully heart wrenching universe of "Jealous Guy."

Galison also sings and plays guitar on the disc. He turns out a fierce electric solo on "Playin'" and chugs along on acoustic guitar or dobro during the standards. "Shoulda Known" shows up like a weird dream. He sings the tale of the frog and the scorpion in a gentle folk voice. Carly Simon even pays a visit.

There may be an odd combination of tone and atmosphere on Peyroux's long-awaited followup to her 1996 Dreamland , but who doesn't want to leap into the French carnival panache of Heinz Jeromim's accordion on "Flambee Montalbanese," then call out to providence in a desperate plea to save mankind as Galison and Peyroux duet along to Jean Baptoste Bocle's Hammond B3 in "Heaven Help Us All".~ Celeste Sunderland  

http://www.allaboutjazz.com/php/article.php?id=14919#.UjHO1T9vA1I

Personnel: Tracks with Peyroux and Galison: Madeleine Peyroux: vocals and rhythm guitar; William Galison: harmonica, acoustic and electric guitars, dobro, vocals; James Wormworth: drums; Conrad Korsch: acoustic and electric bass; Jean Baptiste Bocle: B3 organ. Tracks with Galison: William Galison: guitars, harmonica, vocals; Shawn Pelton: drums, percussion; Tony Garnier: acoustic and electric bass; Brian Mitchell: piano, organ.

Got You on My Mind

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