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.
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
,
, 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
(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,
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