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Geoff Muldaur
Geoff Muldaur was born and raised in Pelham, New York. An early exposure to traditional New Orleans jazz and doo wop leaves an indelible mark on his teenage mind, resulting in many trips to the city to catch shows at 52nd street jazz clubs and the early rock?n?roll revues put on by DJ Alan Freed. Muldaur is deeply inspired by the music of Leadbelly and becomes an addict to the mysterious and otherwordly sounds of early folk-blues and country-blues. He becomes a record collector and starts learning the guitar. As a student at Boston University, Geoff Muldaur finally meets like-minded individuals like the soon-to-be record producer and roots music entrepreneur Joe Boyd. He also discovers the local folk scene but after a while goes off to live in New Orleans for a year and hitch-hike around the States.

Geoff Muldaur?s first solo album is released in 1963 on Prestige and it presents a young folkblues aficionado looking for a sound of his own. A little later on, Muldaur joins the Jim Kweskin Jug Band. This outfit turns into the most successful group from the Boston/Cambridge scene and revolutionizes folk music by abandoning the stiff and formal approach of ensembles like the Kingston Trio. The Kweskin Jug Band adopts a party mentality and becomes a national phenomenon, with big-time TV appearances on the Steve Allen and Johnny Carson shows. The band?s young fiddle player Maria D?Amato develops a crush on her guitar-playing colleague and soon after Geoff and Maria are an item, as they say. Marriage follows and Geoff & Maria Muldaur form a professional partnership as well, after the Kweskin Jug Band has disintegrated. Joe Boyd volunteers to produce the first of their two duo albums "Pottery Pie" and "Sweet Potatoes" for Reprise. Today, both albums are certified American roots music classics. The duo?s version of Ary Barryoso?s classic song "Brazil" becomes an all-time favorite of the British Monty Python comedy troupe and is used as the theme song of Terry Gilliam?s movie of the same name some years later.

In the meantime, Geoff & Maria Muldaur move to Woodstock, but don?t manage to keep their relationship intact. They separate in 1973 and soon after Maria is making it big with her smash hit "Midnight at the Oasis". Geoff Muldaur decides to join a band once again and becomes a member of Paul Butterfield?s Better Days. After two albums with Butterfield he leaves the band to become a solo artist. Geoff Muldaur?s solo career is marked by some of the most eclectic albums ever recorded and no commercial success whatsoever. He continues to educate himself as a singer, player, musicologist and writer, however, coming up with original horn arrangements for his albums and developing an almost universal interest in all aspects of music. Muldaur takes classes at Boston?s Berklee-College of Music and continues to work with guitar virtuoso Amos Garrett. There?s a final solo album for Boyd?s Hannibal label in 1981, but Muldaur decides to leave the business of recording and performing, continuing to write scores for documentary films.

After retreating from the stage, Geoff Muldaur becomes a business executive for Hannibal, gets an Emmy Award for a film score, and educates himself in computer technology. This results in another successful career as a programmer for computer software used in the US auto industry. Muldaur commutes between California and Detroit and survives in a quite middle-class kind of way. After some years of "hanging with the suits", as he once remarked on stage, Geoff Muldaur finally returns as a recording artist and performer in his mid-fifties, much to everyone?s surprise, no longer being able to ignore his profound inner need to return to music full time. His comeback is being met by a warm welcome, especially since it soon becomes apparent that Muldaur has become an artist, whose depth of musical knowledge and expertise are thoroughly impressive and authoratitive. His masterful interpretations of traditional and original material are delivered with more authority and passion than ever.