Artist: Maria Muldaur
Genre(s):
Dance
Pop
Rock
Blues
Jazz
Discography:
Sweet Lovin' Ol' Soul
Year: 2005
Tracks: 12
Love Wants to Dance
Year: 2004
Tracks: 9
Sweet Harmony/Open Your Eyes Disc 2
Year: 2003
Tracks: 10
Sweet Harmony/Open Your Eyes Disc 1
Year: 2003
Tracks: 10
Maria Muldaur's Music for Lovers
Year: 2000
Tracks: 11
Meet Me Where They Play The Blues
Year: 1999
Tracks: 12
Southland of the Heart
Year: 1998
Tracks: 11
Waitress in a Donut Shop
Year: 1993
Tracks: 11
Maria Muldaur
Year: 1993
Tracks: 11
A Woman Alone With The Blues (Promo)
Year:
Tracks: 4
Best known for her seductive '70s pop staple "Midnight at the Oasis," Maria Muldaur has since become an acclaimed interpreter of precisely around every bar of American roots music: blues, early jazz, gospel, folk, country, R&B, and so on. While these influences were sure enough gift on her more pop-oriented '70s recordings (as befitting her Greenwich Village folkie past times), Muldaur really came into her have as a true roots music hairstylist during the '90s, when she developed a especial fascination with the 10000 sounds of Louisiana. On the drawing string of well-received albums that followed, Muldaur trussed her eclectic method together with the romanticist sensualism that had underpinned much of her best figure out ever so since the showtime of her career.
Muldaur was innate Maria D'Amato on September 12, 1943, in New York. As a child, she loved country & western music and began tattle it with her auntie at years five; during her teenage old age, she stirred on to R&B, early rock'n'roll & roll, and girl mathematical group pop, and in high school formed a group in the latter style called the Cashmeres. Growing up in the Greenwich Village field, however, she course became spell-bound with its stentorian early-'60s folk revitalisation and soon began participating in jam sessions. She also affected to North Carolina for a spell to study Appalachian-style fiddle with Doc Watson. Back in New York, she was invited to fall in the Even Dozen Jug Band, a gospeler mathematical group that included John Sebastian, David Grisman, and Stefan Grossman; they had secured a recording deal with blueswoman Victoria Spivey's label and she precious them to total some sexuality appeal. The young D'Amato got a crash trend in early blues, particularly the Memphis scene that spawned many of the original jug bands, and counted Memphis Minnie as one of her tribal chief influences.
Elektra Records bought out the Even Dozen Jug Band's take and released their self-titled debut album in 1964; nevertheless, straight to their cite, the band's unwieldy size made them an expensive engagement on the club and coffee shop circuit and they before long disbanded. Many of the members went off to college and, in 1964, D'Amato stirred to Cambridge,MA, home to some other vibrant folks shot. She speedily joined the Jim Kweskin Jug Band and began an affair with isaac Bashevis Singer Geoff Muldaur; the duo eventually married and had a daughter, Jenni, world Health Organization would later get a vocalizer in her possess right. When the Kweskin band broke up in 1968, the duo stayed with their label (Reprize) and began recording together as Geoff & Maria Muldaur. They stirred to Woodstock, NY, to take reward of the burgeoning music setting thither and issued two albums -- 1970's Pottery Pie and 1971's Sweet-scented Potatoes -- in front Geoff departed in 1972 to form Better Days with Paul Butterfield, a act that signaled non only when the last of the couple's musical partnership, only their wedlock as intimately.
Initially diffident about her musical future, Muldaur's friends bucked up her to follow a solo calling, as did Reprise chairwoman Mo Ostin. Muldaur went to Los Angeles and recorded her self-titled debut album in 1973, marking a massive Top Ten pop hit with "Midnight at the Oasis." Showcasing Muldaur's playfully sulphurous crooning, the Middle Eastern-themed song became a pop radio raw material for eld to come and besides made academic session guitarist Amos Garrett a frequent Muldaur quisling for eld to fall. Muldaur's side by side album, 1974's Waitress in a Donut Shop, featured a hit remake of her Even Dozen-era theme song air, "I'm a Woman." Three more than Reprise albums followed o'er the course of the '70s, broadly with the cream of the L.A. session crop, just besides with more and more diminishing results.
About 1980, Muldaur became a reborn Christian; she recorded a live album of traditional gospel songs, Gospel Nights, for the littler Takoma judge in 1980, and touched into full-fledged CCM with 1982's On that point Is a Love, recorded for the Christian judge Myrrh. However, this new steering did not raise permanent, and for 1983's Sweet and Slow, Muldaur recorded an album of jazz and blues standards (many with longtime age group Dr. John on forte-piano) that created precisely the mode its title suggested. 1986's showy Transbluecency won a year-end critics' prize from the New York Times. Muldaur spent the rest of the '80s touring, often with Dr. John, and too began performing in musicals, appearing in productions of Pump Boys and Dinettes and The Pirates of Penzance. In 1990, she recorded an album of greco-Roman nation songs, On the Sunny Side, that was specifically geared toward children; it proved a surprising succeeder, both critically and among its intended audience.
Part divine by Dr. John's New Orleans obsessions, Muldaur signed to the rootsy Black Top judge in 1992 and cut Pelican State Love Call, which established her as a versatile stylist well-versed in the blues, gospel, New Orleans R&B, Memphis blues, and soul. The record album won wide acclaim as one of the charles Herbert Best works of her career, offering a more organic, stripped access than her '70s pop albums, and became the best-selling record in the Black Top catalogue. Her 1994 followup, Get together Me at Midnite, was nominative for a W.C. Handy Award. Muldaur side by side cut a jazzier outing for the Canadian roots label Stony Plain, 1995's Jazzabelle. She later on sign-language with Telarc and returned to her previous steering, making her pronounce debut with 1996's well-received Fanning the Flames. 1998's Southland of the Heart was a less bluesy field day recorded in Los Angeles and was released the same year as a second gear children's album, Swingin' in the Rain, a ingathering of sway tunes and pop novelties from the '30s and '40s. 1999's Touch Me Where They Play the Blues was intended to be a collaboration with West Coast blues pianissimo legend Charles Brown, simply Brown's wellness problems prevented him from contributory much (merely one vocal on "Gee Baby, Ain't I Good to You"); hence, the project became more of a tribute.
Muldaur touched back to Stony Plain for 2001's Richland Woman Blues, a tribute to early blues artists (particularly women) inspired by a travel to to Memphis Minnie's tomb. Featuring a variety of special guest instrumentalists, Richland Woman Blues was nominative for a Grammy for Best Traditional Blues Album. The children's record album Brute Crackers in My Soup: The Songs of Shirley Temple appeared in 2002. The side by side year saw the release of Fair sex Alone with the Blues, a ingathering of songs associated with Peggy Lee, on Telarc Records. Love Wants to Dance followed in 2004, too on Telarc. The for the most part acoustic Sweet Lovin' Ol' Soul was issued by Stony Plain in 2005, followed by Spunk of Mine: Love Songs of Bob Dylan on Telarc in 2006. Songs for the Young at Heart was besides released in 2006. The following year, the lowest in the prepare of tierce albums that nonrecreational protection to female the blues singers of the twenties through forties, Naughty, Bawdy and Blue (the other two were Richland Woman Blues and Sugared Lovin' Ol' Soul), came knocked out.
