Maria Muldaur - A Woman Alone with the Blues - 2003 - Telarc
The brilliantly versatile Maria Muldaur, whose previous albums have paid tribute to some of the great blues women of the '20s, takes on another musical challenge in this set of songs sung by the legendary Peggy Lee. Peggy Lee was probably more talented than many other singers from her era. She co-penned some of her own material, including "I'm Gonna Go Fishin'" with Duke Ellington. Muldaur, similar to Lee in many ways with her cool, sexy voice, really turns it on with "Some Cats Know", "Fever" and "Black Coffee". Full of bluesy, jazzy vibes, this 12 track collection, backed by a talented and tight band, is an extension of Muldaurs vocal talents. Ths recording with it's retro, big band sound, could have been recorded seventy years ago. This is an excellent tribute album by Maria Muldaur. As usual,it is up to her usual extremely high standards. Check out some of Peggy Lee's albums. She has been a major influence on many jazz and blues singers over the years. Also, try and find recordings by the hugely underrated Irish jazz blues singer, Mary Coughlan.
02. I Don't Know Enough About You
03. Moments Like This
04. Winter Weather
05. Some Cats Know
06. Everything Is Moving Too Fast
07. Waitin' For The Train To Come In
08. The Freedom Train
09. Black Coffee
10. A Woman Alone With The Blues
11. For Every Man There's A Woman
12. I'm Gonna Go Fishin'
Maria Muldaur Primary Artist, Vocals
David Torkanowsky Piano
Danny Caron Guitar
Dan Hicks Vocals
Jeff Lewis Trumpet
Kevin Porter Trombone, Bass Trombone
Jim Rothermel Clarinet, Flute, Alto Saxophone, Tenor Saxophone
Arthur Latin Drums
Neal Caine Bass
Gerry Grosz Vibes
Lincoln Clapp Mastering
John Jacob Engineer
Jim Rothermel Horn Arrangements, Adaptation
Robert Woods Executive Producer
Steve Drown Engineer
Anilda Carrasquillo Art Direction
Randy Labbe Producer
Singers Peggy Lee and Maria Muldaur have few vocal qualities in common, and yet it works as Muldaur pays homage to Lee on A Woman Alone with the Blues. The point of a tribute CD is not to emulate the honoree’s style but to bring the underlying spirit to life, and that’s the approach Muldaur takes. With a New Orleans horn section, Harry Connick Jr.’s rhythm section, and arrangements that recall Lee’s work with big bands, Muldaur covers classics like “I’m Gonna Go Fishin’,” which Lee co-wrote with Duke Ellington, and “I Don’t Know Enough About You.” For the innocent ballads “Moments like This” and “For Every Man There’s a Woman," the blues belter reins in her worldly side and goes for effective simplicity. She swings “Everything Is Moving Too Fast” and turns “Winter Weather,” with Dan Hicks dueting, into a New Orleans Dixieland number, while using a quiet, smoldering voice for classics like “Some Cats Know,” “Black Coffee,” and “Fever.” Throughout the project Muldaur remains herself yet reveals how deeply she cares about both classic pop singing and an important early influence in particular. © Roberta Penn © 1997-2007 Barnesandnoble.com llc
Flawless recording. Highly recommended. © jazzreview.com
Best known for her seductive '70s pop staple "Midnight at the Oasis," Maria Muldaur has since become an acclaimed interpreter of just about every stripe of American roots music: blues, early jazz, gospel, folk, country, R&B, and so on. While these influences were certainly present on her more pop-oriented '70s recordings (as befitting her Greenwich Village folkie past), Muldaur truly came into her own as a true roots music stylist during the '90s, when she developed a particular fascination with the myriad sounds of Louisiana. On the string of well-received albums that followed, Muldaur tied her eclecticism together with the romantic sensuality that had underpinned much of her best work ever since the beginning of her career.
Muldaur was born Maria D'Amato on September 12, 1943, in New York. As a child, she loved country & western music and began singing it with her aunt at age five; during her teenage years, she moved on to R&B, early rock & roll, and girl group pop, and in high school formed a group in the latter style called the Cashmeres. Growing up in the Greenwich Village area, however, she naturally became fascinated with its booming early-'60s folk revival and soon began participating in jam sessions. She also moved to North Carolina for a while to study Appalachian-style fiddle with Doc Watson. Back in New York, she was invited to join the Even Dozen Jug Band, a revivalist group that included John Sebastian, David Grisman, and Stefan Grossman; they had secured a recording deal with blueswoman Victoria Spivey's label and she wanted them to add some sex appeal. The young D'Amato got a crash course in early blues, particularly the Memphis scene that spawned many of the original jug bands, and counted Memphis Minnie as one of her chief influences.
Elektra Records bought out the Even Dozen Jug Band's contract and released their self-titled debut album in 1964; however, true to their name, the band's unwieldy size made them an expensive booking on the club and coffeehouse circuit and they soon disbanded. Many of the members went off to college and, in 1964, D'Amato moved to Cambridge,MA, home to another vibrant folk scene. She quickly joined the Jim Kweskin Jug Band and began an affair with singer Geoff Muldaur; the couple eventually married and had a daughter, Jenni, who would later become a singer in her own right. When the Kweskin band broke up in 1968, the couple stayed with their label (Reprise) and began recording together as Geoff & Maria Muldaur. They moved to Woodstock, NY, to take advantage of the burgeoning music scene there and issued two albums -- 1970's Pottery Pie and 1971's Sweet Potatoes -- before Geoff departed in 1972 to form Better Days with Paul Butterfield, a move that signaled not only the end of the couple's musical partnership, but their marriage as well.
Initially unsure about her musical future, Muldaur's friends encouraged her to pursue a solo career, as did Reprise president Mo Ostin. Muldaur went to Los Angeles and recorded her self-titled debut album in 1973, scoring a massive Top Ten pop hit with "Midnight at the Oasis." Showcasing Muldaur's playfully sultry crooning, the Middle Eastern-themed song became a pop radio staple for years to come and also made session guitarist Amos Garrett a frequent Muldaur collaborator for years to come. Muldaur's next album, 1974's Waitress in a Donut Shop, featured a hit remake of her Even Dozen-era signature tune, "I'm a Woman." Three more Reprise albums followed over the course of the '70s, generally with the cream of the L.A. session crop, but also with increasingly diminishing results.
Around 1980, Muldaur became a born-again Christian; she recorded a live album of traditional gospel songs, Gospel Nights, for the smaller Takoma label in 1980, and moved into full-fledged CCM with 1982's There Is a Love, recorded for the Christian label Myrrh. However, this new direction did not prove permanent, and for 1983's Sweet and Slow, Muldaur recorded an album of jazz and blues standards (many with longtime cohort Dr. John on piano) that created exactly the mood its title suggested. 1986's jazzy Transbluecency won a year-end critics' award from the New York Times. Muldaur spent the rest of the '80s touring, often with Dr. John, and also began acting in musicals, appearing in productions of Pump Boys and Dinettes and The Pirates of Penzance. In 1990, she recorded an album of classic country songs, On the Sunny Side, that was specifically geared toward children; it proved a surprising success, both critically and among its intended audience.
Partly inspired by Dr. John's New Orleans obsessions, Muldaur signed to the rootsy Black Top label in 1992 and cut Louisiana Love Call, which established her as a versatile stylist well-versed in the blues, gospel, New Orleans R&B, Memphis blues, and soul. The album won wide acclaim as one of the best works of her career, offering a more organic, stripped-down approach than her '70s pop albums, and became the best-selling record in the Black Top catalog. Her 1994 follow-up, Meet Me at Midnite, was nominated for a W.C. Handy Award. Muldaur next cut a jazzier outing for the Canadian roots label Stony Plain, 1995's Jazzabelle. She subsequently signed with Telarc and returned to her previous direction, making her label debut with 1996's well-received Fanning the Flames. 1998's Southland of the Heart was a less bluesy outing recorded in Los Angeles and was released the same year as a second children's album, Swingin' in the Rain, a collection of swing tunes and pop novelties from the '30s and '40s. 1999's Meet Me Where They Play the Blues was intended to be a collaboration with West Coast blues piano legend Charles Brown, but Brown's health problems prevented him from contributing much (just one vocal on "Gee Baby, Ain't I Good to You"); thus, the project became more of a tribute.
Muldaur moved back to Stony Plain for 2001's Richland Woman Blues, a tribute to early blues artists (particularly women) inspired by a visit to Memphis Minnie's grave. Featuring a variety of special guest instrumentalists, Richland Woman Blues was nominated for a Grammy for Best Traditional Blues Album. The children's album Animal Crackers in My Soup: The Songs of Shirley Temple appeared in 2002. The next year saw the release of Woman Alone with the Blues, a collection of songs associated with Peggy Lee, on Telarc Records. Love Wants to Dance followed in 2004, also on Telarc. The mostly acoustic Sweet Lovin' Ol' Soul was issued by Stony Plain in 2005, followed by Heart of Mine: Love Songs of Bob Dylan on Telarc in 2006. Songs for the Young at Heart was also released in 2006. The following year, the last in the set of three albums that paid tribute to female the blues singers of the 1920s through 1940s, Naughty, Bawdy and Blue (the other two were Richland Woman Blues and Sweet Lovin' Ol' Soul), came out. © Steve Huey © 2007 All Media Guide, LLC