Mia Doi Todd Live Session
Watch or Listen to the Mia Doi Todd session here
A few weeks ago, Mia Doi Todd performed hauntingly beautiful songs in our studio, from her latest album, GEA. With a classically trained alto voice, accompanied by sparse instrumentation, the session set a contemplative mood to start the day.
Mia played nylon string guitar and harmonium. Joining her for the session was violist Miguel Atwood-Ferguson and percussionist Andres Renteria.
While small, the portable harmonium like the one used in this session, is quite loud. A reed instrument, that Mia activated by pushing bellows with her foot, is similar to the sound of an accordion but the dynamics are a bit more consistent. The harmonium has the look, feel, and sound of what might be considered an ancient instrument, but it is actually relatively modern, being invented in the mid-19th century as a way to bring an inexpensive organ sound to rural churches and chapels in the old West.
Mia uses it as a major 5th drone on a couple of her songs. -- shown here in D.
Setting the beats was Andres, with a personal take on using brushes for his snare drum. Actual paint brushes! Hey, it works.
Rounding out the trio was Miguel on viola, who provided commentary to Mia's melodies through well crafted counterpoint delivered with reverential subtlety. I pulled the mic back from the viola so it would occupy a space that wasn't too intrusive to the vocals. Both Mia's alto vocal and the viola sit in the same octave, so if the viola was too close mic'ed or direct in, it might fight, rather than support the song. The goal was to be close enough to get clarity from the viola line, but far enough away to hear the viola as a sort of calling from a distant lover.
Mia Doi Todd might be the most interesting singer/songwriter of this era that you've never heard of. Her music blends American folk with a hint of something vaguely eastern. It has a timeless quality that conjures both the modern and distant past.
Inspirational artistry with a truly eclectic flavor.
While small, the portable harmonium like the one used in this session, is quite loud. A reed instrument, that Mia activated by pushing bellows with her foot, is similar to the sound of an accordion but the dynamics are a bit more consistent. The harmonium has the look, feel, and sound of what might be considered an ancient instrument, but it is actually relatively modern, being invented in the mid-19th century as a way to bring an inexpensive organ sound to rural churches and chapels in the old West.
Mia uses it as a major 5th drone on a couple of her songs. -- shown here in D.
Setting the beats was Andres, with a personal take on using brushes for his snare drum. Actual paint brushes! Hey, it works.
Rounding out the trio was Miguel on viola, who provided commentary to Mia's melodies through well crafted counterpoint delivered with reverential subtlety. I pulled the mic back from the viola so it would occupy a space that wasn't too intrusive to the vocals. Both Mia's alto vocal and the viola sit in the same octave, so if the viola was too close mic'ed or direct in, it might fight, rather than support the song. The goal was to be close enough to get clarity from the viola line, but far enough away to hear the viola as a sort of calling from a distant lover.
Mia Doi Todd might be the most interesting singer/songwriter of this era that you've never heard of. Her music blends American folk with a hint of something vaguely eastern. It has a timeless quality that conjures both the modern and distant past.
Inspirational artistry with a truly eclectic flavor.
Ray Guarna
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