Maria Muldaur

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风格: #民谣流行　#根源唱作人　#民谣摇滚　#福音
地区: United States of America 美国

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玛丽亚.马尔道具有多样、深厚的音乐根基，五岁时，她已能唱凯蒂.威尔斯的《It Wasn't God Who Made Honky TonkAngels》。青少年时，玛丽亚转向早期的节奏与蓝调，逐渐走向舞台，并在高中时成立了她自己的团体。在流行广播乐不再那么热烈受到欢迎后，马尔道转而探寻美国丰富的本土音乐，并在她自己的后院再之发掘了这些音乐瑰宝玛丽亚.马尔道在1974年发行的首张专辑，在两年内，为她赢得了白金唱片。在九十年代达於最高峰。玛丽亚.马尔道以她最热爱的美国本土音乐的各种形式，为Telrac唱片出版了她的专辑，来继续她生命中的另一个音乐旅程。

略带低沉柔美的女中音，轻吟浅唱，风情万千的蓝调女歌手Maria Muldaur(玛丽亚.马尔道)的歌声时而甜美、时而慵懒，非常自在的游移在爵士与蓝调的类型音乐唱法中，你得仔细的听才能感受到其中的变化。她出色的真假音切换唱法让人着迷，声音稍为带点沧桑、沙哑，所以在演唱爵士或者是蓝调乐曲时，特别的有味道，尤其是在昏黄带点氤氲的氛围下，更能够强烈感受到她所要表达的情境。 TELARC的出品一直都是很有口碑的，除了内容优秀外，录音更是精彩！

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. Released in 1986, the 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. Released in 1999, 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 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. The antiwar-themed Yes We Can!, which featured Muldaur singing with the Women's Voices for Peace Choir, was released in 2008.

Maria Muldaur

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