*Eveybody's Going Back Home To Their Roots- Mississippi Sheiks Move On Over- Geoff Muldaur And The Texas Sheiks Are In Town
CD Review
The Texas Sheiks, Geoff Muldaur and company, Tradition and Moderne, 2009
Recently in reviewing Maria Mulduar's latest CD, "Garden Of Joy", in which she goes back to the old Jim Kweskin and the Jug Band tradition I noted that the tide seemed to be drifting that way. And ex-husband and jug band member Geoff must have heard the siren call because this little treat that goes back to old time, old time music hits the spot. This thing is like a part recreation of the famous "Harry Smith's Anthology of American Folk Music", including some from that series, like "Poor Boy".
Boy and girls, hear this thing if you want to know what music was like when you were left to your own devices and didn't have "MTV" or "YouTube" to make your selections from. The only question left, and one that I posed in reviewing Maria's album. Jim Kweskin is still performing. Geoff Muldaur is still performing. Maria Muldaur is still performing. Everybody's got a ton of great musicians to back them up. So I will let you guess what my next question was.
Below are some remarks that I made in reviewing some of Geoff Muldaur's earlier works.
CD Review
Over the past year or so I have been asking a recurring question concerning the wherewithal of various male folk performers from the 1960’s who are still performing today in the “folk concert” world of small coffeehouses, Universalist-Unitarian church basements and the like. I have mentioned names like Jesse Winchester, Chris Smither and Tom Paxton, among others. I have not, previously mentioned the performer under review, Geoff Muldaur, who is probably best known for his work in the 1960’s, not as solo artist, but as part of the famous Jim Kweskin Jug Band and later the equally famous Paul Butterfield Blues Band. Thus, in a way, I had no reason to place him in the pantheon of the solo performers from that period. But things sure are different now.
The following is a review of Geoff Muldaur's "Password" CD, Hightone Records, 2000, by way of an introduction:
“Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The origin of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
Geoff Muldaur took almost two decades off from the hurly-burly of traveling the old folk circuit. When I saw him at a coffeehouse upon his return to the scene I asked him what the folk revival of the 1960's was all about. He said it was about being able to play three chords to get the girls to hang around you. Fair enough. I KNOW I took my dates at the time to coffeehouses for somewhat the same reason. I guess it always comes down to that. Kudos to Freud.
Seriously though, Geoff Muldaur was and is about lots more than three chords. He has developed a style that reflects the maturation of his voice and of his interests. And beside that he has always, even in the crazy days of the 1960's, taken a serious attitude to the way that he interprets a song. And furthermore has a very deep knowledge of all sorts of music. Every time I think I know most of the artists in the blues genre he, at a concert, will throw out one more name that I have 'missed'. Example, "At The Christmas Ball" is an old Bessie Smith novelty tune. Geoff gives it his own twist. He likewise does that on "Drop Down Mama" the old Sleepy John Estes version of the tune (I think) and on fellow old time folkie Eric Von Schmidt's "Light Rain". Enough said. Listen.”
The above review was written sometime in 2006 several years after he had begun touring again and I had begun to attend his concerts again (Yes, in those small coffeehouses and church basements mentioned above). Recently I picked up at one of his concerts this following historically interesting CD, “Geoff Muldaur, Rare And Unissued-Collectors’ Items 1963-2008 (self-produced for a Japanese CD market of jug music aficionados)”. In this CD one gets all the sense of musical history, guitar virtuosity and wry humor that was mentioned in the above quoted review. There are many cuts from the Kweskin days like "Borneo" and Ukulele Lady", some later Butterfield work (especially a long cover of the blues classic “Boogie Chillin’”) and some dud stuff from the early 1980’s. A few others defy categorization like "Sweet Sue" and "Guabi Guabi". All in all well was worth the purchase.
CD Review
The Texas Sheiks, Geoff Muldaur and company, Tradition and Moderne, 2009
Recently in reviewing Maria Mulduar's latest CD, "Garden Of Joy", in which she goes back to the old Jim Kweskin and the Jug Band tradition I noted that the tide seemed to be drifting that way. And ex-husband and jug band member Geoff must have heard the siren call because this little treat that goes back to old time, old time music hits the spot. This thing is like a part recreation of the famous "Harry Smith's Anthology of American Folk Music", including some from that series, like "Poor Boy".
Boy and girls, hear this thing if you want to know what music was like when you were left to your own devices and didn't have "MTV" or "YouTube" to make your selections from. The only question left, and one that I posed in reviewing Maria's album. Jim Kweskin is still performing. Geoff Muldaur is still performing. Maria Muldaur is still performing. Everybody's got a ton of great musicians to back them up. So I will let you guess what my next question was.
Below are some remarks that I made in reviewing some of Geoff Muldaur's earlier works.
CD Review
Over the past year or so I have been asking a recurring question concerning the wherewithal of various male folk performers from the 1960’s who are still performing today in the “folk concert” world of small coffeehouses, Universalist-Unitarian church basements and the like. I have mentioned names like Jesse Winchester, Chris Smither and Tom Paxton, among others. I have not, previously mentioned the performer under review, Geoff Muldaur, who is probably best known for his work in the 1960’s, not as solo artist, but as part of the famous Jim Kweskin Jug Band and later the equally famous Paul Butterfield Blues Band. Thus, in a way, I had no reason to place him in the pantheon of the solo performers from that period. But things sure are different now.
The following is a review of Geoff Muldaur's "Password" CD, Hightone Records, 2000, by way of an introduction:
“Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The origin of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
Geoff Muldaur took almost two decades off from the hurly-burly of traveling the old folk circuit. When I saw him at a coffeehouse upon his return to the scene I asked him what the folk revival of the 1960's was all about. He said it was about being able to play three chords to get the girls to hang around you. Fair enough. I KNOW I took my dates at the time to coffeehouses for somewhat the same reason. I guess it always comes down to that. Kudos to Freud.
Seriously though, Geoff Muldaur was and is about lots more than three chords. He has developed a style that reflects the maturation of his voice and of his interests. And beside that he has always, even in the crazy days of the 1960's, taken a serious attitude to the way that he interprets a song. And furthermore has a very deep knowledge of all sorts of music. Every time I think I know most of the artists in the blues genre he, at a concert, will throw out one more name that I have 'missed'. Example, "At The Christmas Ball" is an old Bessie Smith novelty tune. Geoff gives it his own twist. He likewise does that on "Drop Down Mama" the old Sleepy John Estes version of the tune (I think) and on fellow old time folkie Eric Von Schmidt's "Light Rain". Enough said. Listen.”
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