Various Artists – Divas (2001)

FrontCover1Diva is the Latin word for a goddess. It has often been used to refer to a celebrated woman of outstanding talent in the world of opera, theatre, cinema, fashion and popular music. If referring to an actress, the meaning of diva is closely related to that of prima donna. Diva can also refer to a woman, especially one in show business, with a reputation for being temperamental or demanding.

The word entered the English language in the late 19th century. It is derived from the Italian noun diva, a female deity. The plural of the word in English is “divas”; in Italian, dive [ˈdiːve]. The basic sense of the term is goddess, the feminine of the Latin word divus (Italian divo), someone deified after death, or Latin deus, a god.

The male form divo exists in Italian and is usually reserved for the most prominent leading tenors, like Enrico Caruso and Beniamino Gigli. The Italian term divismo describes the star-making system in the film industry. In contemporary Italian, diva and divo simply denote much-admired celebrities, especially film actresses and actors, and can be translated as “(film) star”. The Italian actress Lyda Borelli is considered the first cinematic diva, following her breakthrough role in Love Everlasting (1913).

Woman are often referred to as a “diva” if they are “difficult, temperamental and demanding”. Welsh National Opera note that the title emerged in the early 19th century after an increase of female leading sopranos who became “almost became goddess-like in the eyes of their adoring public”. They also note that the word has been used by the media to name many female politicians and entertainers rather than “just ambitious and assertive like their male counterparts”. (wikipedia)


And here´s a low budget compilation:

Ok, then let us celebrate all these divas … my favourite singers were Bette Midler, Nina Simone, Maria Muldaur, Aretha Franklin and of course Alannah Myles


01. Bette Midler: The Rose (McBroom) 3.44
02. Dionne Warwick: Walk On By (Bacharach/David) 2.59
03. Rose Royce: Love Don’t Live Here Anymore (Gregory) 3.57
04. Nina Simone: Papa Can You Hear Me (A.Bergman/M.Bergman/Legrand) 4.24
05. Linda Ronstadt: Blue Bayou (Orbison/Melson) 3.54
06. Mary Coughlan: I’d Rather Go Blind (Foste/Jordan) 4.22
07. Maria Muldaur: Midnight At The Oasis (Nichtern/Muldaur) 3.54
08. Rickie Lee Jones: Chuck E’s In Love (Jones) 3.35
09. Emmylou Harris: Sweet Dreams (Gibson) 3.10
10. Judy Collins: Both Sides Now (Mitchell) 3.18
11. Aretha Franklin: Respect (Redding) 2.26
12. Candi Staton: Young Hearts Run Free (Crawford) 4.12
13. Sarah Vaughan: Get Back (Lennon/McCartney) 2.59
14. Donna Lewis: I Love You Always Forever (Lewis) 4.02
15. Alannah Myles: Black Velvet 4.48




Maria Muldaur – Christmas At The Oasis (2010)


If you’re seeing this and thinking, I didn’t know Maria Muldaur ever recorded a Christmas album, well, welcome to the club. The background here is that Christmas at the Oasis, recorded live at a 2010 show at San Francisco’s now-defunct Rrazz Room, was recorded for broadcast locally as part of a Christmas special. Ms. Muldaur never had any intention of recording a Christmas album (see her own notes below), but the producer kept nudging her, telling her how good the set was, and when she listened back, her reaction was, as she told Dan MacIntosh of Songfacts, “‘Oh, my God, that sounds fantastic.’ I have this stellar jazz band that I work with up here, and they were just smoking. And so finally I was pressured and persuaded on all sides to release it. So we did. I mean, we just went in there and tried to clean up the sound a little bit.”

An album could hardly have been lower profile than this. Initially sold only at her live dates, it then migrated to be a website-only purchase. Now, however, it’s available on Amazon as a manufactured-on-demand CD-R—whatever it takes to get it into wider circulation, because it’s one grand, swinging affair, as rollicking a Yuletide celebration as one could ask, with our gal cutting loose in splendid, attitudinous voice throughout and a powerhouse band kicking it behind her on some vintage holiday fare, including three chestnuts most associated with Louis Armstrong, as well as some evergreens from some of the female blues singers of yore she admires so much.


But first, here’s what the lady of the hour has to say about this project in her liner notes:

Year after year, as the holidays approach, we are all inundated endlessly on every side by an onslaught of the same old sentimental, sappy, overdone, pedestrian Christmas tunes. Over the years, as an antidote to that, I have collected and enjoyed some wonderfully hip, swinging, humorous, irreverent Christmas songs by some of my very favorite artists in the Jazz & Blues idioms (Louis Armstrong, Louie Prima, Bessie Smith, Charles Brown, Victoria Spivey & Mabel Scott to name a few) and in the last dozen years or so, have performed this special collection of rare gems live on numerous occasions. Many people have delighted in these tunes and have suggested I record them on a Christmas album of my own, but for years I resisted the idea, as I saw just how very many artists of every stripe put out Christmas albums, and had decided that I would be the one artist on the planet who didn’t release a Christmas album!

Last year, much to my utter astonishment, an artist I consider to be the Hippest of the Hip, The King Of Cool, Bob Dylan, came out with his very own Christmas album, Christmas In The Heart, the proceeds of which were donated to the charity, Feeding America. “Now, there’s a cool idea–and a swell gesture,” I thought. But still, I resisted the idea. The second event was a Christmas concert I gave with my stellar band of top-notch Jazz musicians, which was recorded at The Rrazz Room in San Francisco for a special Christmas TV broadcast. The evening exceeded my every expectation. The band was rockin’ and swingin’ so hard, we all had a great time, and the audience just loved it! Many of them asked if a CD of the music they had heard would become available.

So……after hearing all the wonderful, spirited music on our live Christmas recording, and being urged on every hand to consider releasing our performance as a live Christmas CD, I finally succumbed, and have thrown my hat (my Santa hat!) into the ring, deciding at last to leave the lonely outpost of being the only artist on the planet without a Christmas album, and finally join the fun, and all my fellow artists, with a Christmas release of my own! We had a ball making this music and hope you will enjoy this refreshing collection of Christmas tunes throughout the Holiday Season!

Jim Rothermel.jpg

Indeed! She lets the band take charge at the outset with a Dixieland-tinged romp through Leroy Anderson’s “Sleigh Ride,” the first of many moments when musical director Jim Rothermel enlivens the proceedings with his spirited clarinet solos aided and is abetted in his efforts by the lively guitar work of Jeff Massanari. This sets the stage for Maria’s entrance, wailing “Well, lookee here, Jack, comin’ down the track, he’s got a rhythm in his feet, but nothin’ in his sack…he’s a boogie-woogie Santa Claus…” Yes, it’s Mabel Scott’s rousing 1948 take on Kris Kringle’s modus operandi in which Muldaur’s swinging vocal over the brisk shuffle beat is complemented by Massanari’s hot picking (funny guy, he even interpolates a snippet of “Jingle Bells” as he surges ahead) and a terrific bluesy fusillade on the 88s from John R. Burr. A lowdown “Christmas Blues” follows, with Rothermel’s bluesy clarinet embellishments setting the stage before Muldaur enters singing a low down “the merry bells are ringing today/but they don’t mean nothin’ to me/I hear the children playing today/but I’m as blue as I can be/ol’ Santa Claus forgot my address/that is something I can plainly see…” The whole shebang promplty jets into an overdrive Kansas City blues originally crafted by Jay McShann as “No Money No Honey.” Muldaur’s tackled this one before, on a 2000 Stony Plain compilation, Stony Plain’s Christmas Blues, backed by the Duke Robillard Band, but she’s even more freewheeling in her attack here and the band is right there with her. And for all the despair in McShann’s lyrics, Muldaur and company have a party with it.


Anyone who’s followed Muldaur’s career knows of her sense of history, which is in full flower here. She may have been averse to the idea of cutting a Christmas album, but when she took the plunge (even if it didn’t start out as an album project, per se) she was going to pay homage to the tradition in her own way. “Sleigh Ride” is one example but that’s the band only. She offers a slinky, seductive “Santa Baby” (with a salty reading of the sentiment “think of all the fellas I haven’t kissed” that would surely impress Miss Eartha Kitt) during which Massanari crafts a an equally salacious guitar solo; a take on Charles Brown’s “Merry Christmas Baby” that has levels of sensuality and longing even its author and its otherwise most famous interpreter, one Elvis Presley, didn’t plumb, aided and abetted by Rothermel’s lusty alto sax and moody solos from Massanari and Burr; like “Sleigh Ride,” “Winter Wonderland,” which dates back to 1934, is an occasion for the band to bop through a delightful theme-and-variation attack, led by Rothermel’s sax but with equal time for Massanari and Burr to fashion fanciful statements of their own as well. She goes back to what is generally acknowledged to be the start of the blues Christmas tradition with a swaggering, multi-textured take on “At the Christmas Ball,” introduced in 1925 by Bessie Smith.

Jeff Massanari.jpg

Armstrong’s “Zat You Santa Claus” elicits a comical treatment with Muldaur vocally trembling at the thought that her late-night visitor might be someone other than Kris Kringle as the drums and sax heighten the element of danger lurking nearby. Two other Armstrong-associated tunes are occasions for the singer and her band to swing free and easy, “Yule That’s Cool” and “Christmas Night in Harlem,” and it could be argued that the delight the musicians take in these—from the way Muldaur plays with the lyrics and the soloists frolic through their spotlight moments—lends these performances a special buoyancy. For good measure, add to these treats the jumping jive the dramatis personae deliver on Louis Prima’s “What Will Santa Claus Say.”


For her long-time fans, Muldaur has a couple of special treats. Those that go back with her to the Even Dozen Jug Band days may remember a holiday parody that irreverent bunch did with the Don Redman-penned tune “Gee, Baby, Ain’t I Good to You,” first recorded in 1929 by McKinney’s Cotton Pickers. With a little lyric tweaking by Duke Ellington collaborator Andy Razaf, Nat King Cole cut it during his first session for Capitol Records in 1943 and in ’44 it followed Cole’s first hit, “Straighten Up and Fly Right,” onto the national charts. Muldaur doesn’t reprise the Jug Band parody here but simply digs into the tune’s deep lovestruck blues in a tender, medium-cool smoldering style with plaintive, atmospheric soloing by Rothermel (clarinet), Burr and Massanari enhancing the yearning mood. And then there is the title track, an on-the-spot rewrite of her breakout hit, the David Nichtern-penned “Midnight at the Oasis,” given a suggestive Yule twist—“let’s slip off to the North Pole…real soon…and kick up a little snow”—in which the camel is supplanted by Rudolph (“our friend…he’ll light up the way…come on, until the evening ends, ‘til the evening ends”), although she does retain, “I’ll be your belly dancer, prancer/and you can be my sheik…,” presumably because, well, prancer fits, doesn’t it? Who knew?

In the end, if Maria Muldaur simply had to be the last person on the planet to release a Christmas album, at least she made the wait worthwhile. Christmas at the Oasis is an instant swinging seasonal classic. (by David McGee)

Ruth Davies
Maria Muldaur’s live Christmas set was recorded at the Razz Room in San Francisco in 2009. What a wonderful blast of Christmas cheer! The recording is technically excellent with Muldaur’s crack Dixieland band giving a new twist to these secular Christmas favorites. A swinging instrumental version of Leroy Anderson’s “Sleigh Ride” warms up the audience before Muldaur starts her vocal blast on “Boogie Woogie Santa.” Steve Allen’s “Yule That’s Cool” that Bette Midler recorded on her Christmas set Cool Yule sways delightfully. Louis Prima’s “What Will Santa Claus Say” bubbles delightfully. “Christmas Night in Harlem” sways relentlessly. “Winter Wonderland” jives with Jim Rothermel’s sax on the upbeat swing track. “Gee Baby, Ain’t I Good to You” has a blusey smoke-filled lounge feel, “I bought you a fur coat for Christmas & a diamond ring, big Cadillac car & everything.” The set concludes with Muldaur’s lyrical twist on her familiar hit “Midnight at the Oasis” which transforms to the title track, “Let’s slip off to the North Pole, real soon, and kick up a little snow.” This is not your religious Christmas record. This is a Christmas party that is as fun as it is addictive. Enjoy! (by Lee Armstrong)

John R. Burr

John R. Burr (piano)
Kent Bryson (drums)
Craig Caffall (guitar)
Ruth Davies (bass)
Jeff Massanari (guitar)
Maria Muldaur (vocals)
Jim Rothermel (saxophone, clarinet)


01. Sleigh Ride (Anderson) 2.58
02. Boogie Woogie Santa (Shaw) 5.03
03. Christmas Blues (Cahn/Holt)) 4.26
04. Yule That’s Cool (Allen) 3.55
05. Santa Baby (Javits/Springer/Springer) 4.46
06. What Will Santa Claus Say (When He Finds Everybody Swingin’) (Prima) 3.26
07. At The Christmas Ball (Longshaw) 4.39
08. Christmas Night In Harlem (Parish/Scott) 3.35
09. Merry Christmas Baby (Baxter/Moore) 5.07
10. Zat You Santa Claus (Fox) 3.40
11. Winter Wonderland (Bernard/Smith) 5.50
12. Gee Baby Ain’t I Good For You (Razaf/Redman) 5.47
13. Christmas At The Oasis (Nichtern) 3.46



More from Maria Muldaur:



Maria Muldaur – Fanning The Flames (1996)

FrontCover1.jpgFor those who only know of Muldaur through her 1974 hit “Midnight at the Oasis,” please scratch that from memory. This lady can flat out sing! Although the CD insert art suggests a “pops orchestra” recording, don’t let it mislead you; Muldaur belts out gritty blues and gospel and soulful R&B as very few can. She appropriately terms this musical gumbo “bluesiana.” A crack band was assembled featuring longtime Muldaur guitarist Cranston Clements, Dave Torkanowsky on keyboards, and Hutch Hutchinson on bass. Guest singer Johnny Adams joins Muldaur on “Trust in Me,” but the two really hit stride as they swap vocal licks on the boogie number “Heaven on Earth.” Muldaur and gospel singer Mavis Staples spend themselves emotionally on the mournful duet “Well, Well, Well,” accompanied by Clements and guest Sonny Landreth on slide and National steel guitars; rarely has a Bob Dylan song sounded as sweet and alive. (by Dave Sleger)


Cranston Clements (guitar)
Hutch Hutchinson (bass)
Maria Muldaur (vocals)
Steve Potts (drums)
Johnny Adams (vocals on 05.)
Bob Henderson (saxophone on 03., 06.)
Sonny Landreth (slide guitar on 01. +11.)
Huey Lewis (harmonica on 08.)
Bonnie Raitt (vocals on 04.)
Mavis Staples (vocals on 03. + 11.)
Bill Summers (percussion on 02.. 03., 06., 10. + 11.)
Dave Torkanowsky (keyboards, synthesizer)
background vocals:
Ann Peebles – Don Bryant – Jon Cleary – Mavis Staples –  Alisa Yarbrough – Ann Peebles – Benita Arterberry – Lucy Anna Burnett – Tracy Nelson – Jennie Muldaur – Lady Bianca

Maria Muldaur01

01. Home Of The Blues (James/Steen) 4.22
02. Fanning The Flames (Cleary) 5.30
03. Trust In My Love (Grebb/Richmond) 4.11
04. Somebody Was Watching Over Me (Burns) 5.07
05.  Heaven On Earth (Muldaur) 5.15
06. Stand By Me (Pardini/Driscoll) 4.35
07. Talk Real Slow (McDaniel) 4.21
08. Stop Runnin’ From Your Own Shadow (Hughes) 4.21
09. Can’t Pin Yo’ Spin On Me (Cleary) 4.06
10. Brotherly Love (Burns/Boaz) 6.20
11. Well, Well, Well (Dylan/O’Keefe) 4.55
12. Strange And Foreign Land (Cleary) 3.26



Maria Muldaur – Don’t You Feel My Leg (2018)

FrontCover1.jpgThis album is a tribute to popular vocalist and songwriter Blue Lu Barker, who made her mark in the late 30s and early 40s, and whom Billie Holiday once cited as her biggest influence. Featuring a stellar band of NOLA musicians including New Orleans A-listers David Torkanowsky on piano (Neville Brothers, Irma Thomas, Solomon Burke), Roland Guerin on bass (Allen Toussaint, Steve Earle, Chris Thomas King), and Herlin Riley on drums (Dr. John, Wynton Marsalis, Cassandra Wilson), among others, DON’T YOU FEEL MY LEG brings Muldaur full circle from the 1973 album sessions that spawned Muldaur’s million-selling hit, “Midnight At The Oasis,” and which also featured a sassy take of Barker’s “Don’t You Feel My Leg,” a cult favorite that remains Muldaur’s most requested song to this day at her performances.

“Because of my friendship with Blue Lu and Danny, and my longtime association with that song, I was invited to New Orleans in 2016 to put on a concert paying tribute to Blue Lu in New Orleans. I started doing some in-depth research of all their past recordings, and to my surprise and delight I discovered that they had written and recorded dozens of songs equally naughty, bawdy, witty, and clever as ‘Don’t You Feel My Leg’. Besides the wonderfully funny, suggestive lyrics, I was really struck and quite charmed by Blue Lu’s delivery of these tunes… droll, sly, full of sass and attitude, yet understated…a bit girlish and coy. Her cool nonchalance and crisp ladylike diction in contrast to the naughty, risqué lyrics made them smolder with innuendo all the more. These were songs by hipsters, for hipsters,” says Muldaur.


Muldaur adds, “as we sit here in 2018, you might well ask why a vintage gal like me feels it is important to present these vintage tunes at this point in time. Well for one thing, in an era when so many aspects of sexuality are dealt with and discussed with such deadly seriousness, I find the lighthearted playful expressions of sexuality in these songs a pleasant and welcome respite from the fraught discourse prevailing today…and for another…these are all basically hip, fun happy songs, and I think we could all use a big dose of HAPPY right about now.” (


Christopher Adkins (guitar)
Roland Guerin (bass)
Maria Muldaur (vocals)
Herlin Riley (drums, vocals)
Piano – Dave Torkanowsky
Duke Heitger (trumpet on 01., 04., 05., 09. + 12.)
Tom Fischer (saxophone, calinet on 01., 04., 05., 09. + 12.)
Charlie Halloran (trombone on 01., 04., 05., 09. + 12.)
Kevin Louis (trumpet on 02., 03., 05. 08., 10. – 12.)
Roderick Paulin (saxophone, clarinet on 02., 03., 05. –  08, 10. – 12.),
Rick Trolsen (trombone on 02., 03., 05. – 08., 10. – 12.)


01. Georgia Grind (Allen/Williams) 4.50
02. Leave My Man Alone (White) 3.43
03. Loan Me Your Husband (Barker) 4.12
04. Scat Skunk (Barker) 3.48
05. Now You’re Down In The Alley (Barker) 3.39
06. Here’s A Little Girl From Jacksonville (Barker) 4.24
07. Nix On Those Lush Heads (Barker/Glen) 3.42
08. Bow Legged Daddy (Barker) 2.55
09. Trombone Man Blues (Black/Barker/Gayle) 3.28
10. A Little Bird Told Me (Brooks) 2.20
11. Handy Andy (Razaf) 4.27
12. Don’t You Feel My Leg (L.Barker/D.Barker/Mayo) 3.59
13. Never Brag About Your Man (Razaf) 3.47





Maria Muldaur – Live at the Uni-Mensa, Bremen, Germany (1979)

MMFrontCover1Maria Muldaur is best known for her 1974 mega-hit “Midnight at the Oasis,” which received several Grammy nominations, and enshrined her forever in the hearts of Baby Boomers everywhere; but despite her considerable pop music success, her 50-year career could best be described a long and adventurous odyssey through the various forms of American Roots Music. During the folk revival of the early ’60s, she began exploring and singing early Blues, Bluegrass and Appalachian “Old Timey” Music, beginning her recording career in 1963 with the Even Dozen Jug Band and shortly thereafter, joining the very popular Jim Kweskin Jug Band, touring and recording with them throughout the ’60s.

Her critically acclaimed 2001 Stony Plain Records release, Richland Woman Blues, was nominated for a Grammy and by the Blues Foundation as Best Traditional Blues Album of the Year, as was the follow up to that album, Sweet Lovin’ Ol’ Soul. In 2011 Maria released Steady Love, a contemporary electric Blues album that reflects the kind of music she loves to perform live – what she calls “Bluesiana Music” – her own brand of New Orleans-flavored Blues, R&B and “Swamp Funk.”

From folk to blues to the Grateful Dead… that’s the First Lady of American Roots Music for you.

And this is a rare und brilliant radio show from Germany … Listen and enjoy !


Rick Alegria (drums)
John Gurton (guitar)
Charles Magarian (bass)
Maria Muldaur (vocals, fiddle)
Jim Rothermel (saxophone, harmonica)
Rick Schaefer (keyboards)


01. Brickyard Blues (Toussaint) 4.12
02. Heart Of Fire (Henderson&Jones) 4.17
03. It Ain’t The Meat, It’s The Motion  (Glover/Mann) 3.16
04. My Tennessee Mountain Home (Parton) 3.38
05. Wheelers And Dealers (Frishberg) 7.28
06. Lover Man (Davis/Sherman/Ramirez)  5.01
07. That’s The Way Love Is (Malone) 4.31
08. Clean-up Woman (Reid/Clarke) 5.38
09. Cajun Moon (Cale) 5.09
10. Walkin’ One And Only (Hicks) 3.18
11. Midnight At The Oasis (Nichtern) 4.52
12. Standin’ (Raitt) 2:58