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Melody Gardot: My One and Only Thrill

 A l b u m   D e t a i l s


Label: Verve Records
Released: 2009.04.28
Time:
 48:07
Category: Jazz, Blues
Producer(s): Larry Klein
Rating:
Media type: CD
Web address: www.melodygardot.co.uk
Appears with:
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Baby I'm a Fool (Melody Gardot) - 3:30
[2] If the Stars Were Mine (Melody Gardot) - 2:48
[3] Who Will Comfort Me (Melody Gardot) - 4:56
[4] Your Heart Is As Black As Night (Melody Gardot) - 2:42
[5] Lover Undercover (Melody Gardot) - 4:24
[6] Our Love Is Easy (Melody Gardot / Jesse Harris) - 5:28
[7] Les Etoiles (Melody Gardot) - 3:18
[8] The Rain (Melody Gardot / Jesse Harris) - 3:21
[9] My One and Only Thrill (Melody Gardot) - 6:10
[10] Deep Within the Corners of My Mind (Melody Gardot) - 3:19
[11] If the Stars Were Mine (Harold Arlen / Yip Harburg) - 3:13
[12] Over the Rainbow (Orchestral Version) - 4:33

 A r t i s t s ,   P e r s o n n e l


Melody Gardot - Guitar, Musical Director, Piano, Vocals

Larry Klein - Bass, Producer, Background Vocals
Larry Goldings - Hammond B3 Organ
Gary Foster - Orchestra Manager, Alto Saxophone
Bryan Rogers - Tenor Saxophone, Background Vocals
Patrick Hughes - Trumpet, Background Vocals
Nico Abandolo - Double Bass
Ken Pendergast - Bass, Musical Director, Background Vocals
Paulinho Da Costa - Percussion
Charlie Patierno - Drums, Background Vocals
Vinnie Colaiuta - Drums
Behn Gillece - Vibraphone

Darius Campo - Violin
Roberto Cani - Violin
Kevin Connolly - Violin
Larry Corbett - Cello
Drew Dembowski - Cello, Double Bass
Joel Derouin - Violin
Alma Fernandez - Viola
Samuel Formicola - Viola
Marcia Dickstein - Harp
Ira Glansbeek - Cello
Roland Kato - Viola
Miran Kojian - Violin
Natalie Leggett - Violin
Andy Martin - Trombone
Liane Mautner - Violin
Robin Olson - Violin
Jody Rubin - Viola
Amy Shulma - Harp
Audrey Solomon - Violin
Christina Soule - Cello
Katia Popov - Violin
Cecilia Tsan - Cello
Irina Voloshina - Violin
Dave Walther - Viola
Vince Mendoza - String Arrangements, String Conductor
Bruce Dukov - Concert Master
Joe Soldo - Orchestra Contractor

Helix Hadar - Engineer
Al Schmitt - Mixing
Steve Genewick - Mixing Assistant
Bernie Grundman - Mastering
Hollis King - Art Direction
Nicholas Jhara - Cover Photo, Photography
Shervin Lainez - Photography
Cindi Peters - Production Coordination
Lisa Hansen - Release Coordinator
Andy Kman - Release Coordinator
John Newcott - Release Coordinator
Sam Feldman - Management
Victoria Stiles - Make-Up

 C o m m e n t s ,   N o t e s


Recorded at the Capitol Studios, Stage and Sound (Hollywood, California) & Market Street (Santa Monica, California).



Melody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities - which also include her vocal resemblance to Fiona Apple's smoky tones - gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut. Released three years later, Gardot's second album, My One and Only Thrill, proves that the first was no fluke; it doesn't build upon the debut so much as it sustains its quality. Like before, My One and Only Thrill is built primarily on Gardot originals (a fine version of "Over the Rainbow" that closes the album being the only exception) that seamlessly blend sultry, late-night jazz blues, singer/songwriter introspection, and sophisticated pop melodies. If anything, My One and Only Thrill emphasizes Gardot's chanteuse qualities, feeling like more of a jazz album than its predecessor, thanks both to its languid atmosphere and also Gardot's phrasing, which elegantly elongates her melodies and slips into scat. These are slight, subtle progressions but what impresses is how thoroughly My One and Only Thrill lives up to the promise of her debut, offering another album that is as enchanting in its sound as it is in its substance.

Stephen Thomas Erlewine - All music Guide



My One and Only Thrill is the spellbinding follow up to Gardot's compelling debut, Worrisome Heart, and eloquently confirms her as a supreme songwriting talent possessed of a truly sublime voice.

Gardot's effortless blend of soft-edged, late-night jazz and quiet, introspective blues is on exquisite display throughout, together with the swooning sashay of the melting, Stan Getz-like Les Etoiles. On The Rain, liquid piano, a gentle double bass line that quietly ebbs and flows, and a keening tenor saxophone cushion Gardot’s poetically lovelorn lyrics and hushed vocal delivery to heart-stopping effect. The album's title track is a 4am-in-the-morning confessional masquerading as a bittersweet ballad that lingers long in the imagination.

Gardot acquits herself with the unfettered precision and unobtrusive panache of a born lyricist, each of the 10 original songs here a masterclass in miniature. Deep Within The Corners of My Heart dances with all the knowing elegance of Bacharach & David; Baby I'm A Fool is Sinatra during his soulful, self-doubting Point of No Return/No One Cares period; Who Will Comfort Me offers a defiant take on Carmel’s Bad Day; Our Love Is Easy is the standout track on the album, an instant classic and a love song of timeless sophistication.

Musically, Gardot clearly believes more is less, the acoustic signature deceptively simple and straightforward but managing to make bass, piano, sax and percussion sound like an orchestra.

Rounding things off – and subtly underlining the album's abiding upbeat afternote – is a sweetly pastoral but resolutely unsentimental take on Somewhere Over The Rainbow cosseted in a perfectly proportioned, sunny Brazilian samba.

It may only be March, but this is already one of the outstanding albums of 2009. Talents like Melody Gardot come along all too infrequently. Now that she's here, she is to be treasured.

Michael Quinn - 2009
BBC Review


Melody Gardot's 2008 debut was swell: an understated collection of savvy jazz-pop packed with Norah Jones-caliber crossover appeal. But the follow-up is a stunner, the work of an artist who over the course of a couple of years has made great leaps as a composer and a lyricist. Gardot is a singer-songwriter who works in the jazz idiom, but where "Worrisome Heart" was an alluring fusion of folk, blues, pop, and jazz, the new album falls firmly into the latter camp. Part of the credit for Gardot's creative ascent goes to producer Larry Klein (studio guru to talented women from Joni Mitchell to Madeleine Peyroux), whose deft touch is marred here only by his overuse of strings. They nearly derail the lead track and first single, "Baby, I'm a Fool." Otherwise, "My One and Only Thrill" is as elegant and sophisticated a collection of songs as you're likely to hear. A model of crisp economy (Gardot name-checks Hemingway, legitimately) and deep craft (half of these tracks already sound like classics), Gardot's singular vision spans bossa nova ("Les Etoile"), blues ("Who Will Comfort Me"), noir ("Your Heart Is as Black as Night"), art song ("The Rain"), and a fistful of romantic ballads that are at once timeless and thrillingly original. A delicate, yet intense, vocalist, Gardot possesses an enigmatic style that seems connected to the severe injuries she sustained and chronic pain she endures after being hit by a car five years ago. Even the breath between Gardot's notes is delivered with precision and panache. (Out tomorrow)

JOAN ANDERMAN - April 27, 2009
© Copyright 2009 Boston Globe



It's a miracle the young American singer Melody Gardot's still alive, let alone on her way to being the next Norah Jones or Madeleine Peyroux, as, when she was 19, she had a serious bike accident. While she was in hospital recovering, Gardot discovered a singer-songwriting talent through music therapy - and she sounds as if she has learned her art in privacy and some distress, only releasing a note once it's burnished to a perfect pale sheen. Her evocative vibrato suggests an introverted Edith Piaf, and she specialises in rather self-denying love songs. This followup to her successful Worrisome Heart is mostly wistful, sometimes strings-accompanied originals - though Somewhere Over the Rainbow gets some twists to the tune and a Latin groove. There are several short horn solos (most effectively from cool school alto-saxist Gary Foster), while the earthier tracks have an arresting, Cassandra Wilson-like bluesy snap or a raucous, New Orleans clamour (Your Heart Is Black As Night), and the title track is a compelling vehicle for Gardot's tendency to sing as if she is anxious not to disturb the air. Some might find the I'll-do-anything-for-you agenda and rolling of her Rs in her occasional modest scats a little annoying, but at her best she's poignant and honest, and has a voice and a story of her own.

John Fordham - 13 March 2009
© 2016 Guardian News and Media Limited



Call it twazz, the admixture of twee female vocals with lite-jazz stylings, as heard by Norah Jones and Madeleine Peyroux. Like Miss P, Gardot is a class act produced by Larry Klein.

Unlike her, she writes most of her own material and sounds like a cartoon kitten doing Julie London. This second album is an expensive job with two great songs, Gardot's "Baby I'm a Fool" and Harold Arlen's "Over the Rainbow". But Vince Mendoza's strings sound like they were mixed in at random and the overall effect is too sweet for lasting nourishment.

Phil Johnson - 15 March 2009
The Independent



“Oh, that’s so beautiful! I’m on the banks of the Seine right now. There’s a winter sky, grey and blue pastel, with a bright yellow setting sun. Ah, I love it here.”

Melody Gardot is in Paris, laughing happily over the phone, waxing ecstatically as she rides through the City of Light during a tour in support of her new CD, My One and Only Thrill (Verve). And she’s not sounding at all like someone who is still suffering the aftereffects of a near-death, life-transforming accident.

She is, in fact, a lot more focused on her pleasure at being back in France. “It’s the only place,” she says, “where I’ve ever gotten off the plane and felt I was at home. [I’m surprised] I was born where I was. Because I feel as though if my spirit were to have chosen where I was to be born, it would have been France.”

Then, interrupting herself, Gardot adds, “Oh, look. There’s my favorite café!”

Despite her enthusiasm, however, the consequences of the accident are still an intrinsic part of her life—directly, as she continues through her recovery, and indirectly, as an element in her art and her story. Five years after the then-19-year old student was struck by an SUV while riding a bicycle to a fashion class at Community College of Philadelphia, she has established herself as an important new talent. Comparisons to Norah Jones, Madeleine Peyroux, Laura Nyro, Joni Mitchell and Shania Twain have been bandied about.

Herbie Hancock invited her to sing Joni Mitchell’s song, “Edith and the King-Pin,” for the Live From Abbey Road TV series. The New York Times’ Nate Chinen, in a review of a live performance, wrote, “Smoldering becomes Ms. Gardot, whose voice carries a soft allure even on brighter fare.” The BBC suggested, “You owe it to your ears to discover this gem for yourself.” And Business Week, in a rare musical observation, described her first CD, Worrisome Heart, as “a place where Billie Holiday meets Tom Waits.”

A slender blonde with dark, arching eyebrows and a cool, Peggy Lee manner, Gardot must wear dark glasses to compensate for hyper-photosensitivity, earplugs for severe Hyperacusis/Tinnitus, and use a cane, which she calls “Citizen Cane,” for stability and balance. But none of these intrude on the dark seductive timbre of her voice, the quality of her music or the emotional electricity of her performances. If anything, the dark glasses and the cane, combined with her affection for, as she puts it, “nice shoes,” provide an intriguing air of timeless elegance.

She also makes clear, on her MySpace page, her dislike for the word “disabled,” a word she considers to be “self-demoting.”

“I see myself,” she writes, “in this way: ‘I am able to do some things and unable to do others.’ That’s all. The technicalities are just as important as you make them. All you need to know is why I need the things you see me with, as most people do not need them.”

But Gardot has had, nonetheless, a difficult journey. The impact of the SUV, which was making an illegal left turn, caused multiple pelvic fractures as well as head, back and spinal injuries. Unable to walk, or even sit up comfortably, she spent a year mostly lying in bed. Her state of mind, combined with the pain she was experiencing, didn’t improve when a physician suggested music therapy as a possible aid in dealing with the cognitive impairment that had been caused by her head injuries.

“The truth is I was devastated when I was encouraged to play,” recalls Gardot, “because I thought it meant I would have to sit at the piano. Which wasn’t possible, because I had fractures in the front and the back, in my pelvis, and sitting was incredibly painful. Even getting to a doctor was a fiasco. It took 20 minutes to get there, and two days to recover from it. It was a really difficult time. So when the doctor mentioned music, it was just kind of both inspiring and deflating in the same breath, because it was hopeful but impossible.”

Impossible for her to play the piano, yes, but there are other ways to make music. Gardot’s mother suggested one, asking, “Why don’t you try the guitar? I have one, you know.” But even that was daunting.

“Basically,” she says, “I learned to play the guitar, on my back, in bed. It was the only way, since I couldn’t sit up. And it did help my situation, if only because it took my mind off the pain for a few minutes.”

But the awkward position, lying on her back while holding the guitar, was compounded by the fact that she was still a pianist.

“I really had no idea how to use this instrument,” Gardot continues. “I mean, mechanically I’m a pianist. With the guitar, you use your left hand differently, with this gripping motion. And your right hand is sort of clawing, instead of moving fluidly. At first, I took on the approach of someone like Stanley Jordan, flipping the guitar down and finger-tapping. But it sounded wrong, it sounded boring, it sounded like I wasn’t going to be able to develop what I was hearing. So I worked at getting my hand around the instrument and I figured out a way, even though I don’t use my thumb and I don’t bar chord.”

In addition to the sheer physical demands of learning a new instrument in such demanding circumstances, Gardot was plagued by memory lapses that are still, although to a lesser extent, a recurring problem.

“The simple truth,” she says, “was that I couldn’t remember a thing, not even from the beginning of the day until the end. So I couldn’t make progress. Because you can’t make progress unless you can look back and reflect on what you’ve done. And with the guitar, I couldn’t remember what I had done. Every day was a new day, with a new instrument and a new challenge. And to learn it what I had to do was break it down. And, finally, a song popped out.”

That song, along with five others, became the appropriately titled EP, Some Lessons: The Bedroom Sessions, Gardot’s first recording. The title piece, “Some Lessons,” is a stunning introduction to an extraordinary new talent: a blues-phrased paean to life from someone who has come dangerously close to the edge. In it, she sings:

Well, I’m buckled up inside
It’s a miracle that I’m alive
To think that I could have fallen
A centimeter to the left
Would not be here to see the sunset
Or have myself a time

Aside from its telling content, what’s impressive about the song, as well as the others on the EP, is the striking sense of maturity in Gardot’s voice, her phrasing and her capacity to tell a story. Yet, remarkably, prior to the accident, singing and songwriting had not been present in her résumé. The daughter of a single-parent mother, she was “cooking and taking care of my own behind by the time I was 7, because my mom was a jack of all trades, working three jobs at once and doing photography on the side.” Raised in Philadelphia—central Philly, she specifies—she had no particular exposure to music other than piano lessons. But, although she was considering a career in fashion, it was in those obligatory piano lessons that the first indication of her considerable native talents first manifested itself.

“Music was funny for me as a child,” she recalls. “Because the first time I experienced jazz was a mistake, a kind of intended mistake, actually. I was learning to play piano when I was 9, taking lessons from this beautiful teacher. One day he came over and I was playing a classical piece I had learned a week earlier. I think it was Tchaikovsky. I was playing it very fast, playing it very quickly so he couldn’t hear my mistakes.

“When I finished, he said, ‘What are you doing?’ And I said, ‘Playing this section here.’ He asked me to play it again, and I did. He looked at me and said it again: ‘What are you doing?’ And I said, ‘I’m adding notes.’ And he said, ‘You can’t add notes to Tchaikovsky.’ I didn’t understand what he was talking about, so I played it again. And then I said, ‘See? I can.’”

Fortunately, Gardot’s piano teacher was not only open-minded, he was also sympathetic to improvisation and to jazz. The next time he came for a lesson, he arrived with a different music book, opened it to a page titled “C Jam Blues” and asked Gardot to play.

“I remember sitting there playing it,” says Gardot, “and going, ‘Hey, are you kidding me? This is easy.’ I loved it. Somehow I knew that jazz was harder than that, but it was fun. And thank goodness he was smart enough to see what I was inclined for.”

By the age of 16, her piano playing had developed to the point where she was handling a repertoire reaching from Radiohead and the Mamas and the Papas to Duke Ellington. Her professional career, like the discovery of her improvisational abilities, began almost randomly on a night when her car was nearly out of gas and she was in need of a job.

“I guess my karma was right,” Gardot explains. “I walked into this place, liked it and asked if they had music. They said, ‘Yeah, but our piano player just quit. Why? Do you play?’ And I was like, ‘Yeah!’ I sat down and auditioned and I got the job. And I started playing there every weekend from the time I was 16 until I was 19.”

She may not have suspected it at that time, but Gardot was apprenticing the techniques as a performer that would make it possible for her to make a remarkably quick transition to the confident onstage manner that almost immediately characterized her post-accident career.

“My only parameter as a young pianist,” she says, “was that I played tunes I liked. And then, as the weeks went on, I gradually learned how to go from being a wallpaper act to doing something that was actually worthy of attention. I did that by tailoring what I did to the people that walked into the room, by learning how to read people, check out their composure and think, ‘OK, what do they really want to hear?’”

Ironically, it wasn’t until after the accident, however, that Gardot began to receive some attention from the local Philadelphia media. The EP, Some Lessons: The Bedroom Sessions, released in 2005, received airplay on WSPN, and City Paper Philadelphia acknowledged her in the periodical’s 2005 People’s Choice Awards. At that point, her visibility expanded dramatically and her career took off. Her first full-length CD, Worrisome Heart, nearly sold out on Amazon.com on the first day of its release in February 2008.

Her new album, My One and Only Thrill, to be released at the end of April, propels her into the majors, with Larry Klein producing and Vince Mendoza providing arrangements for a large orchestra. It arrives in a quarter that also sees new releases from Diana Krall, Madeleine Peyroux and Kelly Clarkson, among others.

But Gardot’s attention clearly focuses on the quality of the music rather than the sales competitiveness of the product. Her working method is unique, embracing each song as a complete entity.

“Everything comes to me at once,” she says. “And, without sounding definitive or creepy, it comes to me in about 20 minutes: music, lyrics, melody, how I imagine the arrangement, everything. It’s almost like a bodily function thing, where everything happens with great urgency. You must sit down and catch it. And if you don’t, it will dissolve. Only in one case on My One and Only Thrill did the lyrics fail to be captured in that initial sitting. And that was only because I got distracted, or they just got caught up in my head.”

It takes a self-assured producer to work with an artist with that kind of complete conceptualization of a song. And, serendipitously, as Gardot puts it, a producer with those qualities found her.

“Larry heard me on XM Radio,” she explains. “He heard the music, and wanted to get together. First and foremost it was most important to me that I liked him, and that concern was immediately put at ease when I met him in New York. He’d done a lot of work with singers, which helped put my mind at ease. And then there’s that little factor of me hearing everything complete in my head, which leaves little room for alteration. With the wrong person, that can be a battle; it can be a breaking point. But Larry is someone who supports a vision, or who can create it if he needs to. He’s not one-sided, and he doesn’t have to go a single way.”

The specific way that Gardot had in mind for My One and Only Thrill encompassed, she says, romance in many hues. And not just about romantic love.

“In fact,” she says with a giggle, “sometimes it’s not about love at all. It can be about having a moment with someone that can feel like an eternity. It can be like when you’re walking in the park, and you feel as though the world stops around you and you’re the only two people who exist. Or maybe you’re not even with someone.” She laughs again. “Romance happens when birds land on your window sill, and meals end with wine.”

Capturing a set of songs—including “Les Etoiles,” her first song conceived and written in French, as well as her view of “Over the Rainbow”—coursing through the full range of romantic subtleties called for very specific kinds of settings. Gardot found the answer when she heard some recordings with Mendoza’s arrangements, even though she was completely unaware of his history.

“I just knew that I liked his work,” she recalls. “And it wasn’t until Larry told me about him that I realized he had worked with Joni Mitchell, Björk and Elvis Costello.”

Characteristically, Gardot was very clear about how she wanted the album to sound, that she wanted to have strings, for the sake of “expression.”

“The cornerstones of what makes music good for me,” says Gardot, “are simplicity, melody and sentiment. Now, when you add strings to the equation, people automatically go, ‘Wait a minute, simplicity with 70 people? I don’t think so.’ It’s a far-reaching concept in that sense, I guess. But what it was really about was adding strings that would support thematic ideas, expand upon thematic ideas and add new ones, without losing touch with those cornerstones. And I think that’s what I got from Vince’s arrangements.”

With the new album in the stores, a busy schedule of appearances, enthusiastic audiences and growing critical acclaim, Gardot’s career is obviously on a fast track. But although she speaks openly of her accident in conversation, she rarely mentions it in her performances, preferring to let the music speak for itself. Nor does she seem especially curious about the strangeness of the accident-driven transition that has taken her from life as a fashion student who played piano in a bistro on weekends to her present role as a rapidly rising young singer-songwriter.

Asked about it, Gardot simply replies, “You know, there’s a saying I repeat often. It goes like this: Good writers write, great writers write what they know. At the time, before the accident, perhaps I knew nothing. And now, I guess I do.”

Don Heckman - May 2009
© 1999–2015 JazzTimes



Melody Gardot, an unflappable young singer-songwriter from Philadelphia, approaches the art of the love song warily. On her second album, “My One and Only Thrill,” she contemplates romance from any angle involving need. She has a knack for the melodramatic but also for a kind of minimalism: she knows the power of modest gestures and meaningful inflections.

The mist and shadows are all but visible in some of these songs, which Ms. Gardot performs either with a well-behaved jazz combo or a shimmering curtain of stings. (The orchestrations are by Vince Mendoza, an old hand at sensuous gallantry.) She sings smartly, resourcefully, moving around her smoky mid-register with a shuddering vibrato. Everything about her style is vintage, informed by American songbook singers and the heroines of French chanson.

Her carefulness keeps a ballad like “The Rain” from slipping into torpor, and her coolness helps carry a noirish tune like “Your Heart Is as Black as Night.” But Ms. Gardot and her producer, Larry Klein, decided to make even her optimistic songs — including the title track and one called “Our Love Is Easy” — feel weighty and lugubrious.

The chief exceptions to this rule both come aerated with bossa nova rhythm: “If the Stars Were Mine,” a whimsical trifle, and “Over the Rainbow,” the album’s lone cover. Ms. Gardot has the range for such digressions, as she’s likely to prove at the City Winery on Tuesday night (and in a semi-secret midnight show afterward; find details through myspace.com/melody). In the meantime she deserves credit for creating an album this focused, even at the cost of vigor.

Nate Chinen - April 26, 2009
© 2016 The New York Times



My One and Only Thrill is the second studio album by American singer and songwriter Melody Gardot, released on March 16, 2009 by Verve Records. Three singles were released from the album: "Who Will Comfort Me", "Baby I'm a Fool", and "Your Heart Is As Black As Night". All tracks are original, except "Over the Rainbow" (originally performed by Judy Garland in the 1939 film The Wizard of Oz), which is included as a tribute to her grandmother. It features string arrangements by Vince Mendoza, who, along with producer Larry Klein, is known for his works with Joni Mitchell. My One and Only Thrill received three Grammy Award nominations: Instrumental Arrangement Accompanying Vocalist(s) for the title track (Mendoza), Best Engineered Album, Non-Classical (Helik Hadar and Al Schmitt), and Producer of the Year, Non-Classical (Klein). The album has sold over 1.5 million copies worldwide.

A deluxe edition was released in November 2009, which consists of a digipak including an orchestral version of "If the Stars Were Mine" and an additional EP with five tracks recorded live at a radio concert in Paris, as well as an extended booklet. A second deluxe addition, the Starwatch edition, was released in November 2010. This version includes three bonus "Chill Out Mix" tracks and instead of the live EP it includes the Bye Bye Blackbird EP, four tracks recorded with British jazz guitarist David Preston.

Keeping the dark piano jazz style, the album incorporates several elements of samba and Brazilian music, which Gardot considers major influences. Regarding the slightly quiet and always smooth sound, she was quoted saying that, because of her health problems, not many instruments could be used. She added that it was a very logical process. The album is mainly sung in English, except for the French-language track "Les étoiles" ("The Stars").

The album gained favorable reviews upon its release, calculating an average rating of 71/100 according to Metacritic based on ten critic reviews. Allmusic remarked that "These are slight, subtle progressions but what impresses is how thoroughly My One and Only Thrill lives up to the promise of her debut, offering another album that is as enchanting in its sound as it is in its substance", awarding the album with four out of five stars. The Times gave the album four out of five stars and described it as "an exceptional album and anyone who thought the great age of the torch singer was long over should lend an ear".

My One and Only Thrill debuted at number 42 on the US Billboard 200 with 11,000 copies sold in its first week, earning Gardot her highest-peaking album on the chart (until The Absence reached number 33 in 2012), as well as her best sales week. By April 2010, the album had sold 117,000 copies in the United States. The album debuted at number 40 on the UK Albums Chart for the week ending March 28, 2009, eventually peaking at number 12 in late May 2009. It was certified gold by the British Phonographic Industry (BPI) on July 22, 2013, denoting shipments in excess of 100,000 copies.

The album was successful across continental Europe, where it reached number one in Sweden, as well as the top five in Belgium's Wallonia region, France, Germany, and Norway, the top 10 in Denmark, and the top 20 in Finland, the Netherlands, Poland, Spain, and Switzerland. As of April 2015, My One and Only Thrill had sold over 1.5 million copies worldwide.

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