Maria Muldaur Albums (24)
What The Critics Say
Maria Muldaur's ripe, sexy vocals have been delighting audiences ever since she started singing in Greenwich Village coffeehouses. As you may or may not know, her first recordings were made for Elektra Records in 1964 as part of the Even Dozen Jug Band, a group that included future icons John Sebastian (Lovin' Spoonful) and progressive bluegrass pioneer David Grisman, creator of Dawg Music. Muldaur revisits the music of her youth here with the help of Sebastian, Grisman, Dan Hicks, and a youthful jug band she recently discovered, the Crow Quill Night Owls, featuring Kit Stovepipe on National guitar, jug, and washboard. "Garden of Joy," a classic Muldaur cut with Jim Kweskin, was the title tune of one of his early solo albums. It features a terrific fiddle solo by Suzy Thompson, and Muldaur's vocals still hit all the high notes, although her low end is now richer and more soulful than in her youth. "I Ain't Gonna Marry," another ragtime slow blues from Kweskin's "Garden of Joy," features Muldaur's exuberant singing and high-spirited work from the ensemble. Hicks contributes two new compositions, still heavily swinging and ironic: "The Diplomat" is a jaundiced look at modern life full of his skewed humor and set to a ragtime rhythm with Grisman's mandolin shooting off sparks and "Let It Simmer" is a sultry, laid back prescription for dealing with life's difficulties. The traditional jug band numbers, all arranged by Muldaur, are full of high spirits and ragtime vigor, especially the raucous "Shout You Cats" and the lascivious "He Calls That Religion." She nods to 2009 with two more timely traditional tunes "Bank Failure Blues," a dark, depressing dirge that sounds like it could have been written yesterday and "The Panic Is On," which takes a slightly lighter look at hard times. Needless to say, after a lifetime of music making, this project sounds more focused than the recordings of the Even Dozen Jug Band, but Muldaur and her pals still bring plenty of funky energy to the table. ~ j. poet, All Music Guide
What The Critics Say
There are a number of arguments to be made for and against Maria Muldaur's 2008 antiwar statement Yes We Can! on Telarc (before actually listening to it; remember, we live in a cynical culture). The "perceived" negatives all relate to the intent of the recording and who it's supposed to reach (no doubt an expression of the same set of beliefs rooted in Muldaur's 1960s music), and the fact that it's loaded with guests (in all fairness, these star-studded affairs seldom work). On Yes We Can!, her guests include Muldaur's old friends (Joan Baez, Bonnie Raitt, Phoebe Snow, Jane Fonda, and Holly Near) and influences (Odetta) and new pals (writers/spiritual gurus Anne Lamott and Marianne Williamson, and Indian spiritual teacher Amma). Does it read as if it is yet another exercise in self-referential backslapping? Yep. But don't believe everything you read on the back of a CD jacket. The positives are all musical. First off, Muldaur hasn't sounded this funky in years -- if ever! The set was co-produced by Muldaur and Joel Jaffe. The sound is, for the most part, dirty, raw, and angular, ranging from deep Southern blues to Cajun, gospel, rhythm & blues, and soul -- no matter where the songs come from originally. Her great influence, Memphis Minnie, would have been proud of Muldaur's use of the Southern inflection that sounds unaffected even though she was born in New York. Credit for the sonics falls equally with the production and arrangements (handled heroically by David Torkanowsky) and the musicianship (the Free Radicals and the Women's Voices for Peace Choir). The track selection is killer to boot: Edwin Starr's "War (What Is It Good For)," Allen Toussaint's title track, Bob Dylan's "License to Kill" and "Masters of War," Garth Brooks' beautiful "We Shall Be Free" (with deeply moving solo spots from her guests), Elbernita Terrell's (from Detroit's wonderful gospel group the Clark Sisters) "Pray for the USA," and the traditional "Down by the Riverside." Of the two Dylan tracks, "License to Kill" rivals the original. Muldaur understates the lyric, bringing out its nuances and the hidden power in the melody. Muldaur's reading of Timmy Thomas' "Why Can't We Live Together" drips with sincerity and is delivered with expert control -- she's a true craftswoman as a vocalist, always resisting the temptation to over-sing. That said, Muldaur may have lost her "good girl gone bad" seductiveness of the early '70s, but what she replaces it with is far more sultry because there isn't anything here but the desire to communicate the emotional intention of these songs in her husky, deeply soulful voice. Old hippies may be drawn to this set for its guests and track list, but any fan of bona fide, honestly performed, deeply emotional American music will be knocked out by it as well. ~ Thom Jurek, All Music Guide
'Naughty, Bawdy and Blue'
Release Date 5/15/2007
Tracks 12
Label Stony Plain
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What The Critics Say
Maria Muldaur's trilogy of old-timey blues and jazz releases for the Stony Plain imprint (she simultaneously records more contemporary music for the Telarc label) concludes with this appropriately titled set. Much is made in the liner notes of the veteran jazz/blues/pop/gospel singer being mentored in her early jugband years by no less of an icon than Victoria Spivey, so it seems Muldaur feels this tribute to the style and material of Spivey and other "classic blues queens" of the '20s and '30s is a sort of closure. It is also a history lesson, with detailed booklet information, some of it written by Muldaur, providing fascinating capsule biographies of the women whose music is covered here. Muldaur sure has the pipes and integrity for this approach, alternatively playful, sexy and downtrodden, and these dozen tracks find her inspired both by the strong, occasionally humorous material and the superb backing musicians in James Dapogny's Chicago Jazz Band. There is no attempt to modernize these classic vaudeville and Dixieland era tunes; rather the intent is to be true to the original style with acoustic backing played in, and with, the spirit that made them so popular in their day. Muldaur invigorates the incessant double entendres that surely caused lecherous grins when listeners heard Bessie Smith's "Empty Bed Blues" or Spivey's "One Hour Mama" for the first time. Bonnie Raitt swings by for a cameo on Sippie Wallace's "Separation Blues," graciously not stealing the spotlight, but using her presence to pay tribute to one of her own inspirations. Other blues women covered here are Mamie Smith, Ma Rainey and Alberta Hunter. Muldaur's versions aren't simply covers, they reinvigorate the material, keeping the focus on the lyrics while Dapogny's group swings along. It's a fun, frisky and enlightening ride from a vocalist who has always promoted this music mixed in with her other styles, and an album that leaves the listener anticipating a follow-up. ~ Hal Horowitz, All Music Guide
'Sweet Lovin' Ol' Soul'
Release Date 8/2/2005
Tracks 12
Label Stony Plain
See Album Tracklist and Review
What The Critics Say
This superior release finds Maria Muldaur returning to her roots and paying special tribute to Memphis Minnie. Assisted by such notables as singer-guitarist Taj Mahal and guitarist Del Rey, Muldaur really excels on the vintage material and in this acoustic setting. Rather than sounding like a revivalist, her sensitive and witty vocals show a real understanding for the music and make her sound like a veteran of the era even though she is about 50 years too young! For listeners who might find it difficult to get into early blues due to the primitive recording quality, Maria Muldaur's Sweet Lovin' Ol' Soul will serve as the perfect transition. This is one of her finest recordings overall. ~ Scott Yanow, All Music Guide
What The Critics Say
Maria Muldaur's website quotes her as saying, "My goal is to continue growing and improving as a singer of soulful songs all of my life." It's a single point of focus that has steered her long career through some tricky twists and turns and has provided an anchor for a remarkably consistent recording career. Love Wants to Dance is an elegant, swinging celebration of love in song played to a soundtrack of jazzy blues and sleek R&B. As has become her norm, Muldaur and co-producer Randy Labbe select a wonderfully eclectic mix of material and proceed to color and nuance their hidden elements. Muldaur's voice, which has become a gorgeously textured contralto, emotes effortlessly without giving in to cheap sentiment. Her delivery is flawless and dignified, as well as emotionally honest. The recording fits together seamlessly, as it examines love in all of its phases and stages, from hesitation to swooning bliss to tension and dissolution, as well as rebirth. While there isn't a dud in the bunch, there are some clear standouts, among them the Ivan Linns/Paul Williams' penned "Love Dance," with its shimmering faux Caribbean backbeat, and a stellar reading of Blossom Dearie's "Isn't That the Thing to Do," where want falls like rain form Muldaur's treatment of the tune. The slide guitar and piano-drifting blues of Bob Dylan's "Moonlight" is done in her best Bluesiana style. But it is in Nashville songwriter Brenda Burns' two selections here where Muldaur finds herself completely at home. "Baby You're My Destiny," with its languid tempo, jazz guitar, and gracefully yet directly suggestive lyrics, roams the terrain where carnal and emotional desire are poetically entwined; Muldaur creates this intoxicating weave with grace. The other Burns' tune, "The Strong Stand Alone" is a bluesy, noirish, torch song, and Muldaur 's vocal performance is timeless. It could have been recorded in the 1940s; it could have been sung last night to an absent lover; the shadows and dark corners that keep the protagonist in a lonely silhouette are murky, but unmistakable in which emotions are being given utterance. This is a gorgeous record, one that in its subdued, classy presentation showcases the totality of Muldaur's considerable gift. ~ Thom Jurek, All Music Guide
'A Woman Alone with the Blues'
Release Date 1/1/2003
Tracks 12
Label Telarc
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What The Critics Say
The always eclectic Maria Muldaur, whose previous albums have paid tribute to Shirley Temple and blues women of the '20s, takes another musical detour in this collection of songs associated with Peggy Lee. In addition to her cool, sexy, relaxed voice, Lee was arguably more talented than other vocalists from her era. As a songwriter she co-penned some of her own material, including the swinging "I'm Gonna Go Fishin'" with Duke Ellington, which features the witty double entendres that spice several other songs. Muldaur possesses a similar ability to purr ("Some Cats Know") or sizzle (an opening tour de force of "Fever" and "Black Coffee") without breaking a sweat. So this collection of 12 tracks, backed by a talented yet restrained eight-piece band, is a natural extension of her vocal strengths. The stylish, retro arrangements include vibes and big-band-styled horn charts that sound as authentic as if they were recorded in the '30s. Even though there are some finger-popping swing numbers (a zippy duet with Dan Hicks on Ted Shapiro's "Winter Weather" is especially peppy), a late-night, languid blues-jazz vibe dominates. The title track, a sexy "Some Cats Know," "Moments Like These," and "I Don't Know Enough About You" exude a gauzy, smoky sheen perfect for Muldaur's sensual delivery. Sticking to less popular fare, producer Randy Labbe forgoes such Lee favorites as "Big Spender," "Is That All There Is?," and "I'm a Woman" (which Muldaur had already successfully covered on 1974's Waitress in a Donut Shop) to concentrate on more obscure, often loungy material. Classy, sophisticated, supple, and subtle, Maria Muldaur's tribute to Peggy Lee is a triumph for the singer and a heartfelt homage to her subject. Both artists' legacies should benefit from this impeccably conceived project. ~ Hal Horowitz, All Music Guide
'Animal Crackers in My Soup: The Songs of Shirley Temple'
Release Date 1/1/2002
Tracks 13
Label Music For Little Peo
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What The Critics Say
Maria Muldaur reunites with Jim Rothermel, the artist she collaborated with on her successful Swingin' in the Rain album (1998), for Animal Crackers in My Soup: The Songs of Shirley Temple (2002), a collection of songs popularized by the one and only Shirley Temple. Music for Little People singing sensation Carrie Lyn joins Muldaur for these many children's songs, as does Norton Buffalo, who lends his voice to a few songs. In addition to Rothermel, the musical director who both orchestrates and arranges the album as well as contributes numerous instruments, Muldaur recruits a number of talented San Francisco Bay Area jazz musicians -- Danny Caron (guitar), Ruth Davis (bass), John Burr (piano), and Lance Dresser (drums) -- for Animal Crackers in My Soup, giving it a sound quite similar to Swingin' in the Rain. Both albums take classic songs and give them a jazzy, upbeat update that's undoubtedly modern and contemporary. In particular, Lyn shines as the album's standout vocalist despite her young age, highlighting such songs as "Animal Crackers," "Lollipop," and "When I Grow Up." Both young and old will enjoy the reinterpretations of these timeless songs forever associated with Temple, America's favorite child star of the '30s. ~ Jason Birchmeier, All Music Guide
'Richland Woman Blues'
Release Date 1/1/2001
Tracks 14
Label Stony Plain
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What The Critics Say
Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin "Youngblood" Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in "Me and My Chauffeur Blues" ("the way you ride so easy, I can't turn you down") or longing for her Southern home after moving north during the Depression in Bessie Smith's "Far Away Blues," the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight. ~ Hal Horowitz, All Music Guide
'Meet Me Where They Play the Blues'
Release Date 4/27/1999
Tracks 12
Label Telarc
See Album Tracklist and Review
What The Critics Say
Meet Me Where They Play the Blues captures Maria Muldaur at her sexy, sultry, sizzlin' best. Twenty-five years after she sent her camel to bed in "Midnight at the Oasis," Muldaur delivers a soulful package of late-night blues gems bolstered by a top-notch supporting cast. Originally planning to record this material with the legendary singer/pianist Charles Brown, she ended up producing a tribute when Brown became too ill to join in. He was, however, able to sing a duet with Muldaur from his nursing home on "Gee Baby, Ain't I Good to You," a performance that turned out to be his last. On the remaining tracks, the spirit of Brown's "cool blues" permeates the proceedings. Most of the songs are taken at slow to medium tempos, and Muldaur intimately caresses each lyric to squeeze out every drop of sensuality. The arrangements work to complement her delivery, with David Matthews' piano especially important in filling the space where Brown would have resided, and a three-piece horn section figuring prominently on several tracks. Jim Rothermel's clarinet and saxophone solos are particularly noteworthy. The opening duo of "Soothe Me" and "I Wanna Be Loved" set the tone for this disc, as Muldaur issues the irresistible invitation to "love me 'til I'm numb with ecstasy." After proclaiming "It Ain't the Meat, It's the Motion," she makes an offer that "We Can Let It Happen Tonight." She reworks John Hiatt's contemporary blues standard, "Feels Like Rain," into a completely new song; glides over a Creedence-like guitar lick on "Blues So Bad"; and leads a gospel chorus into "The Promised Land." On "All to Myself Alone," Gerry Grosz' vibes atmospherically accentuate the singer's sad tale. This is an album that transcends genre. Perhaps the theme song of Meet Me Where They Play the Blues is really "He Don't Have the Blues Anymore," for on this recording, Muldaur delivers a surefire cure for even the most intractable case of the blues. ~ Jim Newsom, All Music Guide
What The Critics Say
Swingin' in the Rain is an enchanting collection of classic swing tunes from the '30s and '40s -- such as "A Bushel and a Peck," "Zip-a-Dee-Doo-Dah," "Jeepers Creepers," "Mairzy Doats," "If I Baked a Cake," "Aba Daba Honeymoon," and, of course, "Singin' in the Rain" -- that are given sweet, sunny arrangements designed to appeal to children. There's a light-heartedness and good sense of humor that makes this record inviting to both children and adults alike, and it confirms Muldaur's status as one of the best children's artists of the '90s. ~ Stephen Thomas Erlewine, All Music Guide
