A Quote by Loudon Wainwright III
Geoff Muldaur was and is one of my musical heroes. When I listen to him sing and play, I can hear the coal mine, the cotton field, and last, but certainly foremost, the boy's boarding school.
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I was immediately taken with Geoff Muldaur's rich soulful voice, masterful phrasing and guitar playing when I first heard him.
I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.
I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.'' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.
There are only three white blues singers -- Geoff Muldaur is at least two of them.
My musical influences growing up were limited to Korean folk songs and hymns as I went to a Christian boarding school where I was not allowed to listen to secular music.
Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.
I knew that I could sing when I was young. I would listen to a lot of jazz; I'm a big jazz fan. When I first got to high school and studied musical theater, I could sing. But I added certain things to my voice, and I realized after graduating high school that this is the kind of voice I had. It's not very nimble, but it's heavy.
For some reason, on that sparkling afternoon last week, I actually saw the coal that was passing by and it set me to thinking how important coal was to our everyday lives when I was a little boy.
My first school play was 'Perkin and the Pastry Cook' that my primary school put on, and I played a boy, and it was so much fun, and I'd love to play a boy again. I think that would be great.
When I was a teenager, just about the only thing I could do right was play music. In my graduating class, I was certainly not voted 'Most Literary Boy.' I can assure you I was not voted 'Mostly Likely to Succeed.' I was voted 'Most Musical Boy.' And the music led to the poetry.
I have a theory that if you've got the kind of parents who want to send you to boarding school, you're probably better off at boarding school.
Peter Martin’s artistry is nothing short of extraordinary. To sing with him is sublime – to listen to him play is a transcendent experience.
Writing is hard for every last one of us—straight white men included. Coal mining is harder. Do you think miners stand around all day talking about how hard it is to mine for coal? They do not. They simply dig.
I went to a Catholic all-girls school, and we would play cassettes of music we liked, and when it was my turn, they would laugh at my choices. I would play Billie Holliday, Elmore James and Howlin' Wolf, but it was fine; if I had to listen to their choices, they had to listen to mine.
When I was 12, I went to boarding school, where I discovered the computer, which meant I no longer had to write something down and get someone to play it, I could just type it into the computer and hear it back.
I have a buddy of mine who's a musician, and I play guitar and sing quite a bit with him.
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