Geoff Muldaur is one of the great voices and musical forces to emerge from the folk, blues and folk-rock scenes centered in Cambridge, MA and Woodstock, NY. During the 1960's and '70's, 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-1980's for a working sabbatical but continued, however, to hone his craft, albeit 'flying beneath radar'. He composed scores for film and television, and produced off-beat albums for the likes of Lenny Pickett and the Borneo Horns and the Richard Greene String Quartet. Geoff's 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. He performs in concert halls, performance spaces, clubs and festivals throughout the US, Canada, Japan and Europe. Geoff may be heard from time to time 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, All Things Considered, Fresh Air with Terry Gross, and The World with Lisa Mullins.

Geoff's newest albums, The Secret Handshake, Password, Private Astronomy and Texas Sheiks 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.

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 musicians musician, it is clearly his voice that most identifies him. About his singing, 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 per-formance 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.'"