Hey! What's That Sound?

No, for what it's worth, we're not about to do the Buffalo Springfield tune. But we are proud to present the latest addition to the Domestic Harmony sonic stable: Jean Marie's harmonium.

She’s performed with this little gem for our last four gigs—two private parties and two public venues. Each time, someone has approached her to ask, “What is that?” And she explains.

My introduction to the harmonium was in 1965 on the Beatles’ Rubber Soul, where it is featured on The Word, and played by George Martin. I always thought it provided interesting and unique texture. Then, for a songwriting retreat about seven years ago, one of the participants brought along a harmonium. It was a frequent element of songs as they evolved. I loved the accordion-but-not-accordion nature of the sound. It also provided the sustained keyboard drones that might come from a synthesizer, but were somehow much cooler on the ancient Indian instrument.

I since have seen harmoniums—now that I know what to look for— used in kirtan: a more traditional setting for them, truly.

Now we’ve started mining the possibilities, and Jean Marie has ventured to try out songs she’s never played before on this keyboard. So much delight and surprise! What we also notice is that it grabs attention in a good way. Suddenly, the Domestic Harmony sound is changed. As we continue to incorporate the harmonium, we’ll see just how that change can make a difference.

For now, you can expect to hear it on our versions of two Stephen Foster tunes (yeah, our “‘50s tunes” as in 1850s): Hard Times Come Again No More and O Susanna, our tribute to New Orleans and now Santa Rosa as cities that endure: This City, written by Steve Earle for the HBO series, Treme, and maybe Steve Winwood's Can’t Find My Way Home, too. Others surely to follow.