New England native Paul Charles Domingue is a singer-songwriter whose repertoire includes original material as well as traditional folk music and country blues.
Paul was a founding member of the popular roots band French Quarter (2014 – 2018) as well as the old-time folk/blues trio Cypress Grove and another French Quarter offspring, Southern Arizona Railroad. Cypress Grove continues to play locally on occasion, but Paul primarily focuses on his solo work.
Paul’s musical influences combine the thoughtful, introspective work of the early Boston and New York folksingers such as Joan Baez, Tom Rush, Phil Ochs and Leonard Cohen, with the country-blues revival artists such as Paul Geremia, Chris Smither and Dave van Ronk.
But underlying it all remains the music of Mississippi John Hurt, which has been the most significant influence on Paul’s style throughout the years. Hurt’s heavily syncopated guitar work and lilting vocal delivery – deceptively complicated despite the simple form – became the cornerstone of Paul’s musical taste from an early age.
The old folk and blues masters – Woody Guthrie, Rev. Gary Davis, Pete Seeger, Ramblin’ Jack Elliott, Frank Stokes, Papa Charlie Jackson, Elizabeth Cotten, Skip James, Leroy Carr, Brownie McGhee, Big Bill Broonzy, The Carter Family, Cannon’s Jug Stompers, Sonny Terry and Brownie McGhee – were all enjoyed, admired and studied.
Absorbing from both masters and revivalists, Paul immersed himself in the huge array of traditional songs from the early 1900s. This was fertile ground, and one that could lead in a thousand directions. But Paul has always come back to Mississippi John Hurt as his muse, and his spirit sits on Paul’s shoulder during every song he performs.
A Paul Charles show includes his interpretations of many songs that reflect the rural roots of our American culture, and which originally gave rise to the term “folk music” itself. This music reflects a period in our nation’s history that was perhaps more authentic – more in touch with the rhythms and sensibilities of common people involved in day-to-day activity.
Folk music is not manufactured, not pristine nor polished. It is not made to satisfy a commercial interest, or fatten the wallets of the corporate types. Rather, folk music is people’s music, made for the joy of the playing and singing. It is front porch music, made by friends for no other purpose than itself and the bonds of shared community that it creates. The bones and rough edges of folk music’s structure are readily apparent, supporting and coaxing the full expression of humanity’s common endeavor. Folk songs deal with joy and sorrow, with triumph and tragedy, loneliness and fulfillment, and oftentimes, the reassurance of finding deep meaning among life’s simple pleasures.
Whether the form is acoustic blues, a folk ballad, a ragtime frolic or a jug band tune, Paul Charles plays real music, made by and for real people.