Geoff Muldaur is one of the great voices and musical forces to emerge from the folk, blues and folk-rock scenes centered in Cambridge, Massachusetts and Woodstock, New York. During the 196’s and ‘70s, Geoff made a series of highly influential recordings as a founding member of the Jim Kweskin Jug Band and the Paul Butterfield’s Better Days group, as well as collaborations with then-wife Maria and other notables (Bonnie Raitt, Eric Von Schmidt, Jerry Garcia, etc.). He left the stage and recording world in the mid-1980s for a working sabbatical but continued, however, to hone his craft, albeit ‘flying beneath radar’. He composed scores for film and television, garnering an Emmy in the process, and produced off-beat albums for the likes of Lenny Pickett and the Borneo Horns and the Richard Greene String Quartet. And his definitive recording of “Brazil” provided the seed for - and was featured in - Terry Gilliam’s film of the same title.
With his magical voice and singular approach to American music in tact, Geoff is once again touring the world. Recent performances have included The Lincoln Center in New York City, The Getty Art Center in Los Angeles, Royal Festival Hall in London, as well as folk and blues festivals in Newport, Rhode Island; Edmonton, Canada; Dublin, Ireland; San Francisco, California; Bergen and Notodden, Norway, to name a few. Geoff may be heard regularly as a guest on Garrison Keillor’s “A Prairie Home Companion” and has been featured on a variety of National Public Radio shows, including Weekend Edition and All Things Considered.
Geoff’s newest albums have met with high critical acclaim and feature Geoff’s unusually crafted interpretations of classic, oftentimes obscure, American material as well as his own unique compositions. The recordings include performances by David Lindley, The McGarrigle Sisters, John Sebastian, Van Dyke Parks, Roswell Rudd, Amos Garrett, Lenny Pickett and Howard Johnson in supporting roles.
In addition to tours and recording, Geoff continues to apply his arranging skills to a variety of projects for albums and film. Although he is known as a musician’s musician, it is clearly his voice that most identifies him. About his albums, the New York Times noted: Geoff Muldaur “. . . succeeds not because he copies the timbre and inflections of a down-home African American but because his voice - reedy, quavering, otherworldly - is so unusual that [the music] he sings becomes little more than a context, a jumping-off point.” And about a recent performance in London, The London Times wrote, “Immaculate guitar picking was matched by vocals that were rich, and bore out the guitarist, Richard Thompson’s praise for him: ‘There are only three white blues singers, and Geoff Muldaur is at least two of them.’”