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 collaborating with a team of highly regard musicians, arrangers, and songwriters including longtime producer and multi-instrumentalist Larry Klein, guitarist and primary lyricist David Baerwald, organist Patrick Warren, and drummer Brian MacLeod. Also joining in at various times are guitarist Dean Parks, saxophonist Chris Cheek, drummer Jay Bellerose, and vocalist Luciana Souza (who does not sing but instead adds subtle percussion accents), and others.

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.

In 2009, Madeleine Peyroux issued Bare Bones, her first recording of all-original material with producer Larry Klein and a small group of jazz musicians and co-composers. Standing on the Rooftop is her debut recording for Decca with producer Craig Street. The group of players here is a diverse lot: drummer Charlie Drayton, guitarists Christopher Bruce and Marc Ribot, bassist Me'Shell Ndegeocello; John Kirby, Glenn Patscha, and Patrick Warren alternate on keyboards, percussionist Mauro Refosco, violinist Jenny Scheinman, and Allen Toussaint guests on piano. The program is richly and elegantly painted with modern production touches even as its songs are rooted in the historical past of classic Americana: pop songs, blues, jazz, and sitting room tunes. It includes eight originals and four covers, among them a poem by W.H. Auden set to music by Ribot entitled "Lay Your Sleeping Head, My Love"…

Madeleine Peyroux made a bit of a stir in 1996 due to her voice sounding remarkably close at times to Billie Holiday's. This wide-ranging set features Peyroux singing swing standards, originals and tunes that hint at country and folk music. Her supporting cast, which changes on each selection, includes a restrained James Carter on tenor and bass clarinet, Marc Ribot on dobro and guitar, trumpeter Marcus Printup, pianist Cyrus Chestnut and violinist Regina Carter, among others. A very interesting release which, despite the derivative nature of Peyroux's voice, is full of surprises. Highlights include "Walkin' After Midnight," "I'm Gonna Sit Right Down and Write Myself a Letter," "La Vie en Rose" and "Muddy Water".

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.

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.

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.

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.

Careless Love is an album by jazz singer Madeleine Peyroux that was released in 2004. The songs are cover versions except for "Don't Wait Too Long," which Peyroux wrote with Jesse Harris and Larry Klein…

Careless Love, first released in 2004, is a rich collection of cover versions with tunes from Bob Dylan to James P Johnson, and included Peyroux’s milestone rendition of Leonard Cohen’s Dance Me to the End of Love. For the sole original on the album, producer Klein and Jesse Harris co-wrote Madeleine’s signature tune and many fans’ favourite, Don’t Wait Too Long. With sales of half a million copies, the album shifted Peyroux from the exclusive Jazz realm into the mainstream arena, and it remains her most popular release. This deluxe edition includes a full previously-unreleased 2005 live set, recorded by Basque Public Radio for the Festival de Jazz de Vitoria-Gasteiz in Spain. Madeleine performs the repertoire from Careless Love, plus additional bonus songs.