Madeleine Peyroux / The Blue Room (Deluxe Version)
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Жанр: Jazz
Страна: USA
Год издания: 2013
Издатель (лейбл): Pennywell Productions, Inc.
Аудио кодек: AAC
Тип рипа: tracks
Битрейт аудио: 256 kbps
Продолжительность: 01:15:46
Источник: https://itunes.apple.com/gb/album/the-blue-room-deluxe-version/id611774557
Вшитые тексты: не добавлены
Наличие сканов в содержимом раздачи: Digital Booklet
Треклист:
1. Take These Chains
2. Bye Bye Love
3. Changing All Those Changes
4. Born To Lose
5. Guilty
6. Bird On The Wire
7. I Can't Stop Loving You
8. Gentle On My Mind
9. You Don't Know Me
10. Desperadoes Under The Eaves
11. I Love You So Much It Hurts
12. The Blue Room - On Film (A Documentary)
Digital Booklet - The Blue Room
Скриншоты
The Blue Room - On Film (A Documentary)
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MI
Код:
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Movie name : The Blue Room - On Film (A Documentary)
Album : The Blue Room (Deluxe Version)
Album/Performer : Madeleine Peyroux
Track name/Position : 12
Performer : Madeleine Peyroux
Genre : Jazz
Recorded date : UTC 2013-04-05 07:00:00
Encoded date : UTC 2013-03-02 21:00:27
Tagged date : UTC 2013-03-02 21:00:51
Copyright : ℗ 2012 Pennywell Productions, Inc. Under Exclusive license to Universal Music International B.V.
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Об исполнителе (группе)
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.
Об альбоме (сборнике)
On The Blue Room, her second Decca recording, Madeleine Peyroux and producer Larry Klein re-examine the influence of Ray Charles' revolutionary 1962 date, Modern Sounds in Country and Western Music. They don't try to re-create the album, but remake some of its songs and include others by composers whose work would benefit from the genre-blurring treatment Charles pioneered. Bassist David Pilch, drummer Jay Bellerose, guitarist Dean Parks, and pianist/organist Larry Goldings are the perfect collaborators. Most these ten tracks feature string arrangements by Vince Mendoza. Five tunes here are reinterpretations of Charles' from MSICAWM. "Take These Chains" commences as a sultry jazz tune, and in Peyroux's vocal, there is no supplication — only a demand. Parks' pedal steel moves between sounding like itself and a clarinet. Goldings' alternating B-3 and Rhodes piano offer wonderful color contrast and make it swing. Her take on "Bye Bye Love" feels as if it's being narrated to a confidante, and juxtaposes early Western swing with a bluesy stroll. A rock guitar introduces "I Can't Stop Loving You," but Peyroux's phrasing has more country-blues in it than we've heard from her before. The use of a trumpet in "Born to Lose" and "You Don't Know Me," with Mendoza's dreamy strings, allow for Peyroux to deliver her most stylized jazz performances on the set. Buddy Holly's "Changing All the Changes" contains the same happy bump as the original, but there isn't any ache in Peyroux's vocal; it's all declaration. The simmering, busted blues in Randy Newman's "Guilty" reveals he could have written the tune for Little Willie John or Patsy Cline. Both singer and producer prove that John Hartford's "Gentle on My Mind" can be as much a jazz-pop tune as a country song. The shuffling train motion in Glen Campbell's iconic version has been traded for a less hurried pace. Peyroux employs her Billie Holiday-influenced phrasing to excellent effect. Mendoza's restrained strings color the tune from a simple, directly conveyed love song to an intimate reverie offered over time and distance; Goldings' shimmering piano and Parks' ringing guitar make it nearly elastic. Warren Zevon's "Desperadoes Under the Eaves" illustrates better than any selection here that Charles' approach to country to transcend genre and tell universal stories was indeed genius. Peyroux, her band, and Mendoza's strings offer a nearly cinematic legend of old Hollywood envisioned through the eyes of one of its most seasoned and heartbroken denizens. The singer leans out of the arrangements and into the depths of her heart, conveying loss and loneliness to the listener directly. The Blue Room is a brave experiment, but one that pays off handsomely. For anyone who hasn't spent time with Charles' classic country recordings, it doesn't matter, because what's here stands confidently on its own; for those who have, that experience will provide an additional reward.
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发表于 2021-9-25 13:32:24
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