瑪麗亞.馬爾道具有多樣、深厚的音樂根基，五歲時，她已能唱凱蒂.威爾斯的《It Wasn't God Who Made Honky TonkAngels》。青少年時，瑪麗亞轉向早期的節奏與藍調，逐漸走向舞臺，并在高中時成立了她自己的團體。在流行廣播樂不再那么熱烈受到歡迎后，馬爾道轉而探尋美國豐富的本土音樂，并在她自己的后院再之發掘了這些音樂瑰寶瑪麗亞.馬爾道在1974年發行的首張專輯，在兩年內，為她贏得了白金唱片。在九十年代達於最高峰。瑪麗亞.馬爾道以她最熱愛的美國本土音樂的各種形式，為Telrac唱片出版了她的專輯，來繼續她生命中的另一個音樂旅程。 略帶低沉柔美的女中音，輕吟淺唱，風情萬千的藍調女歌手Maria Muldaur(瑪麗亞.馬爾道)的歌聲時而甜美、時而慵懶，非常自在的游移在爵士與藍調的類型音樂唱法中，你得仔細的聽才能感受到其中的變化。她出色的真假音切換唱法讓人著迷，聲音稍為帶點滄桑、沙啞，所以在演唱爵士或者是藍調樂曲時，特別的有味道，尤其是在昏黃帶點氤氳的氛圍下，更能夠強烈感受到她所要表達的情境。 TELARC的出品一直都是很有口碑的，除了內容優秀外，錄音更是精彩！ 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.