Half The Perfect World

Smokey-voiced chanteuse Madeleine Peyroux's third CD is a lovely collection of after-hours ruminations and should confirm her rise to fame. Credit producer Larry Klein for doing a bang-up job with the album's sound: the elegant, pared-down arrangements are all brushed drums, acoustic guitars, and cool organ licks. But of course it's Peyroux's voice that brings it all home–preferably one where the shades are drawn, embers are smoldering in the fireplace, and the white wine is kept dry. Two-thirds of the songs are well-chosen covers, including a duet with k.d. lang on Joni Mitchell's "River"; a relaxed version of Fred Neil's "Everybody's Talkin'," from Midnight Cowboy; a delicately lilting samba take on Leonard Cohen and Anjani Thomas's title track; Serge Gainsbourg's "La Javanaise," performed in the original French; and Charlie Chaplin's "Smile," from Modern Times. The four originals, all coauthored by Peyroux, easily keep up with such august company, especially "I'm All Right"–written with Klein and Walter Becker, it captures the easy sophistication of Becker's regular band, Steely Dan. Fans of Norah Jones (whose collaborator Jesse Harris cowrote three of the songs) should gobble up this album, but Peyroux is no mere imitator: She's her own, very real thing.

Madeleine Peyroux took significantly less time than the eight years between her debut and its follow-up to release her third album, Half the Perfect World, which finds a more mature – or at least less vulnerable – singer, one who chooses to express herself with nuance rather than overtness. Often, like in the opening "I'm All Right" – one of four original songs – this aversion to unconcealed emotion works well, playing off the swelling Hammond, the swinging rhythm of the acoustic guitar (contrasting nicely with the hook of "It's all right, I've been lonely before"), and the simple drums. But at other times, like in "A Little Bit" – which is bluesy and more upbeat and practically screams for an outburst, a growl, something – her hesitancy instead almost comes across as a flaw, as a fear of fully expressing herself.

The 2014 career-spanning anthology Keep Me in Your Heart for a While: The Best of Madeleine Peyroux, showcases tracks from throughout the Georgia-born, Paris-based vocalist's career. Starting with her 1996 debut album, Dreamland, and running through her 2013 studio effort The Blue Room, Keep Me in Your Heart for a While reveals Peyroux's transformation from a bluesy, Billie Holiday-influenced vocal ingenue to a mature and sophisticated interpreter of popular song, both new and old. Here we get such tracks as "La Vie en Rose," "Smile," "Between the Bars," "Dance Me to the End of Love," and more. Also included is Peyroux's previously unreleased recording of Warren Zevon's "Keep Me in Your Heart," from the film Union Square.