***The Answer Ain’t Blowing In The Wind- "Maria Muldaur: Live In Concert (2008)”
The name Maria Muldaur has appeared frequently in this space over the past few years as I have spilled a fair amount of ink in reflecting on my youthful musical interests. Those interests included an appreciation of jug music, yes, jug music, for the non-believer, and what of it, one of the folkloric forms in vogue in the early 1960s urban folk revival centered on such places as the Village (and if you need to know what village, move on), Harvard Square, Berkeley and a few places in between. And Maria, along with then husband Geoff Muldaur and band leader Jim Kweskin (both who have also come in for a fair amount of ink here for their later efforts as well), along with stand-bys Fritz Richmond and Mel Lyman were the central driving forces of the Jim Kweskin Jug Band that reigned supreme in those days, especially in the environs of Harvard Square
For those not familiar with the jug band tradition, those non-believers, its roots stems, mainly, from a more rural, more poor boy (and girl), black white poor boy and girl, earlier time in America when dough was scarce (or non-existent) out in the hinterlands and hollows of America, in Appalachia and its foothills, out in the Piedmont and Delta too. But come Saturday night was still eternal universal Saturday night and the eternal need for entertainment was in the air. So, good old boys (and gals, but less so) got together with what was at hand, a guitar, almost always a fiddle, and then whatever else could be gathered up: wash tub, wash board, wash tub and broom to make a bass instrument, whistles, kazoos (Geoff is a master kazoo-ist, if that is the right term), harmonicas, hell, pot and pans if that’s what it took. Oh yah, and a jug.
And they made music for the folk, made music through the twenties and thirties of the last century. But then as America became more urbanized this stuff, this poor boy stuff, fell off the radar until roots music-crazed young people, mainly students, with some musical talent and a desire to break out of the Tin Pan Alley pabulum of the late 1950s ”discovered jug” along the way. Groups formed, and reformed, for a while digging up old Memphis Jug Band, Mississippi Sheiks, Arkansas Sheiks (and sheiks for other locales as well), country blues, and whatever else they could find. And guys, like this writer, could go to places like Harvard Square on any given weekend night with a date, stop at one of the eight zillion coffeehouses that dotted the landscape of the place and hear jug (or other forms of folk music: mountain, traditional ballads, some ethnic stuff, contemporary folk protest a la Dylan, Baez, Ochs, etc.) for the price of a cup of coffee and, maybe, dessert. Cheap dates for modern day poor boys, praise be. But that cheap date coffeehouse weekend scene too passed as fickle youth moved on to other musical forms, and other social concerns, for a while.
Maria (and Geoff and Jim, for that matter) , however, driven by that sound in every true musician's head kept up her musical career, mainly after the break-up of the Kweskin Band as a solo artist backed up by various bands, and other configurations. For the last decade or so she has immersed herself in a thorough going and deep revival of the music of old-time barrel house women blues singers. Names like Sippy Wallace, Bessie Smith, Ida Mack, Ethel Waters, Alberta Hunter, and Victoria Spivey long lost are now resurrected through Maria’s voice in a three CD compilations (whether more are coming I do not know). When the legacy of Maria Muldaur is mentioned this work may very well be her musical monument. And rightly so.
So now we come to a review of this Maria Muldaur: Live In Concert DVD, a concert done in the heart of the period of her blues revival work (2008) although it is mainly a concert in support of her CD featuring the love songs of Bob Dylan. And after all this build up about Maria’s musical roots, her place, righteous place, in blues history, and the rest this concert was an extremely uneven effort, particularly the first half. No question many people have covered Bob Dylan songs, including love songs, very well and have become standards on their own. One thinks of Ritchie Havens’ masterful version of Just Like A Women, for example. However the somber, jazzy, low-key renditions here, and their delivery were, well, ho-hum. Buckets of Love can serve as an example. Dave Van Ronk has, to my mind, done the best cover on this one with his grainy voice (I am being kind here) and wistfully bitter-sweet rendition. Frankly, until about a minute into the thing I did not know Maria was singing that song. And so it went for the first half.
But talent is talent and so it rose to the occasion in the second half with a great rendition of Cajun Moon and others, ending with a very nice version of Ride Me High, including Maria on fiddle. But Maria I hear Alberta Hunter calling. Bob Dylan has many people willing and able to cover his work but those old time blues singers need a voice, your voice.
The name Maria Muldaur has appeared frequently in this space over the past few years as I have spilled a fair amount of ink in reflecting on my youthful musical interests. Those interests included an appreciation of jug music, yes, jug music, for the non-believer, and what of it, one of the folkloric forms in vogue in the early 1960s urban folk revival centered on such places as the Village (and if you need to know what village, move on), Harvard Square, Berkeley and a few places in between. And Maria, along with then husband Geoff Muldaur and band leader Jim Kweskin (both who have also come in for a fair amount of ink here for their later efforts as well), along with stand-bys Fritz Richmond and Mel Lyman were the central driving forces of the Jim Kweskin Jug Band that reigned supreme in those days, especially in the environs of Harvard Square
For those not familiar with the jug band tradition, those non-believers, its roots stems, mainly, from a more rural, more poor boy (and girl), black white poor boy and girl, earlier time in America when dough was scarce (or non-existent) out in the hinterlands and hollows of America, in Appalachia and its foothills, out in the Piedmont and Delta too. But come Saturday night was still eternal universal Saturday night and the eternal need for entertainment was in the air. So, good old boys (and gals, but less so) got together with what was at hand, a guitar, almost always a fiddle, and then whatever else could be gathered up: wash tub, wash board, wash tub and broom to make a bass instrument, whistles, kazoos (Geoff is a master kazoo-ist, if that is the right term), harmonicas, hell, pot and pans if that’s what it took. Oh yah, and a jug.
And they made music for the folk, made music through the twenties and thirties of the last century. But then as America became more urbanized this stuff, this poor boy stuff, fell off the radar until roots music-crazed young people, mainly students, with some musical talent and a desire to break out of the Tin Pan Alley pabulum of the late 1950s ”discovered jug” along the way. Groups formed, and reformed, for a while digging up old Memphis Jug Band, Mississippi Sheiks, Arkansas Sheiks (and sheiks for other locales as well), country blues, and whatever else they could find. And guys, like this writer, could go to places like Harvard Square on any given weekend night with a date, stop at one of the eight zillion coffeehouses that dotted the landscape of the place and hear jug (or other forms of folk music: mountain, traditional ballads, some ethnic stuff, contemporary folk protest a la Dylan, Baez, Ochs, etc.) for the price of a cup of coffee and, maybe, dessert. Cheap dates for modern day poor boys, praise be. But that cheap date coffeehouse weekend scene too passed as fickle youth moved on to other musical forms, and other social concerns, for a while.
Maria (and Geoff and Jim, for that matter) , however, driven by that sound in every true musician's head kept up her musical career, mainly after the break-up of the Kweskin Band as a solo artist backed up by various bands, and other configurations. For the last decade or so she has immersed herself in a thorough going and deep revival of the music of old-time barrel house women blues singers. Names like Sippy Wallace, Bessie Smith, Ida Mack, Ethel Waters, Alberta Hunter, and Victoria Spivey long lost are now resurrected through Maria’s voice in a three CD compilations (whether more are coming I do not know). When the legacy of Maria Muldaur is mentioned this work may very well be her musical monument. And rightly so.
So now we come to a review of this Maria Muldaur: Live In Concert DVD, a concert done in the heart of the period of her blues revival work (2008) although it is mainly a concert in support of her CD featuring the love songs of Bob Dylan. And after all this build up about Maria’s musical roots, her place, righteous place, in blues history, and the rest this concert was an extremely uneven effort, particularly the first half. No question many people have covered Bob Dylan songs, including love songs, very well and have become standards on their own. One thinks of Ritchie Havens’ masterful version of Just Like A Women, for example. However the somber, jazzy, low-key renditions here, and their delivery were, well, ho-hum. Buckets of Love can serve as an example. Dave Van Ronk has, to my mind, done the best cover on this one with his grainy voice (I am being kind here) and wistfully bitter-sweet rendition. Frankly, until about a minute into the thing I did not know Maria was singing that song. And so it went for the first half.
But talent is talent and so it rose to the occasion in the second half with a great rendition of Cajun Moon and others, ending with a very nice version of Ride Me High, including Maria on fiddle. But Maria I hear Alberta Hunter calling. Bob Dylan has many people willing and able to cover his work but those old time blues singers need a voice, your voice.
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