Bio: Miguel "Mito" de Soto

The Name
“The beginning is not conveyed with an inaccurate or expounded imagination but rather an accurate history no matter how trite it may seem.” - Mito

Miguelito “ Mito” de Soto is a well-known Spanish guitarist with very early roots in America. Let’s start with his chosen nickname “ Mito,” which happens to be a play on words. Although it is not, Mito sounds like a diminutive for Miguelito, when actually Miguelito is the diminutive for Miguel (Michael), ‘though it has a longer pronunciation. Translated to English Mito means, “Myth”, therefore, in the indicative dry wit of Miguel, he calls himself Mito de Soto, e.g., “the myth of grove.”

The Spanish surname de Soto originates from several places in Spain: El soto, a subsection of northern Madrid; Soto de Ribiera, approx. 70 kilometers north of Madrid; The Grove, approx. 35 kilometers southwest of Santiago de Compestela ( Compestela being where the remains of St. James are buried); and finally, in the north central part of Spain near Oviedo we find, Soto del Barco.

The name Soto del Barco literally translates into English as “Grove of the Ship.” This town naturally maintains a glorious array of foliage and wildflowers, which beautifully rival any grove worldwide. The town is not too arid and not too humid, but rather perfectly temperate. Soto del Barco is on the Mar Cantábrico (The Cantabrian Sea) with a very active port, hence the Barco aspect of the name. This is a well comforted vacation rest spot whether on the way to a destination or the destination itself. This will become a favorite stop if quaint, intimate and beautiful is what you enjoy.

The name Soto, or de Soto, is steeped in Flamenco history, so much so that in the 1800’s Manuel Soto developed the style of flamenco guitar playing known today as the Seguiriyas. Mito is very proud of this fact knowing that Manuel is his ancestor. This Flamenco style is frequently coveted as a means of lament through the vehicle of guitar, voice or both.

Miguelito’s immediate patriarchal family ( los de Soto’s 1930’s to present) is from Gomez Palácio, Durango, Mexico and for the previous two hundred years between (1680 – 1900) they had married and procreated with the natives of the land along the Gulf of Mexico coastline. Prior to that, the family had been relatively stable in eastern Texas before it was deemed Texas (c. 1680), and prior to that, the area now known as the mouth of the Mississippi (c. 1549) had been home. Throughout these centuries his family made several trips to and from Spain. This area had been stumbled on by an ancestor of Mito, Hernando de Soto (del Barco); “stumbled on” because Hernando had originally been in search of the “fountain of youth.” But after all his searching through Florida and across Georgia & Louisiana, he never found his elusive fountain. He died near the Mississippi river from pneumonia complications. His sons carried out his request to find this “fountain” and much to their dismay, they had not found it either.

The other side of Mito’s patriarchal family consisted mostly of trade workers in leather goods and metal works.

Just because the matriarchal surname is not identified in the name “ Mito de Soto”, does not mean that he is not proud of the matriarchal side of his family. He espouses about the French-Canadian/Scot-Irish ancestry on his mother’s side, those names being the Wilkins and Naptons ancestry. The Wilkins had been sent from Scotland in the late 1600’s to Ireland to work the land crops for England. The Wilkins, i.e. the Kin (relations) of Wil (William of Scotland) slaved and sweated the land in County Cork, Ireland until they fled the hunger of the great “Potato Famine of Ireland.” of the 1800’s. Shortly after the famine, and after generations of slave labor, many families headed back to England. Some stole away on ships to the Americas, Canada, and northern Spain, as did Mito’s ancestors.

On the other side of Mito’s matriarchal family, we find the Naptons who were French Huguenots. They were trappers, seamstresses and woodworkers. Most of them came to Canada and settled in New Glasgow, Nova Scotia as well as Montreal & Québec in the Québec Province, at the turn of the 19 th Century.

Through the centuries into present day the unity of these two races (Irish and Spanish), especially in northern Spain, is visibly undeniable. This is evident in Mito’s family as well. Seeing the people and listening to the music of the “Asturias” region of northern Spain, the Celtic influence becomes apparent not only in appearance of the inhabitants, but in song as well; “Celtic Corto”, a rock group from northern Spain. They play a combination of Irish Folk-Rock rhythms and Irish instrumentation with Spanish lyrics, which is very indicative of the region from which they hale. Many believe that most Spaniards are dark haired and dark eyed… though many Spaniards are; it may come as a surprise to know this is quite to the contrary of the norm. Of course the “light” Irish are not the only fair-skinned, fair-haired people who continue to “influx” Spain, therefore, the mixture of Miguelito’s ethnicity is not as uncommon as one may think.

The Musical Influence “Most people grow up with one or two main musical influence styles, but five or six styles that are completely different…eclectic. Yes” - Mito

There are many music styles worldwide and few that influence a musician throughout his/her life. For Miguelito “ Mito” many influential musicians had been family members from both sides. From early childhood he heard the sounds of mouth harps, various stringed instruments, flutes, guitars, clapping & stomping, dancing and of course, singing… plenty of singing. Early musical influential styles were indicative of but not limited to; Mexican, Spanish (yes, there is a difference), Celtic, Rock (all aspects), Jazz (all variants), African drumming, Artistic-Classical, Eastern Dirges, American Hymns and various American folk styles. Therefore, from early in his life, Mito gained an understanding of music appreciation. All of these styles had their time and importance in shaping the musician he has become.

As a teenager, Mito had begun singing for enjoyment and inspirational release. But he had always maintained a great desire to play guitar. His mother bought him a “ Silvertone” electric guitar and amplifier for his 15 th birthday. One year later she understood the uniqueness in his adaptation and ability to play various solos of violin, keyboard and other instruments, on guitar. His mother being a Jazz singer, understood the complexities of various jazz styles, and decided to open two (2) Jazz-Fusion guitar doors to Miguelito, Frank Zappa and Chicago (Chicago VI & VII in particular). From this point Mito explored his own world of Fusion (a combination of rock and jazz, implementing extremely difficult solos) by purchasing the music of Jean-Luc Ponty (featuring: Allan Holdsworth and Daryl Stuermer), Joe Satriani and Al DiMeola. These fusion icons continue to peak his interest to this day. He began studying and playing fusion guitar riffs (solos) verbatim. Copying these scales aurally (by ear) only had intrinsic meaning to him, being that he did not understand the intricacies of scale inversions (manipulating the beginning and ending points of solos) and how they connected modally (the end of one scale being the beginning of the next scale), which allows the performer to freely move up and down the neck or the board of their instrument. Miguelito was born a natural musician and as an older teen and young adult, he became a well sought out performer for various Progressive-Fusion groups. However, Mito was not satisfied with only learning aurally and for that matter, by rote (repeated to commit to memory). He soon found this “rote” avenue to be limiting to what he believed to be his true gift, that being the ability to play more difficult music styles.

Mito began studying these new fusion styles and decided to learn more about rhythmic syncopations (striking notes or chords other then on simple beats 1, 2, 3, or 4) and poly-rhythms (more then simple 1, 2, 3, 4; beats happening simultaneously) of Fusion music. He did not limit himself to guitar. In 1992 he attended a workshop by world renown percussionist Alex Acuña and began aurally studying and professionally playing percussion using poly-rhythms of “5 beats against 3 beats” that is, accenting beat one for each measure. Later, Mito explored drumming time signatures from Senegal & Ghana, that are poly-metric (multiple changing beats per piece) transitions of 4/4 to 6/4 accenting every third beat, East Indian rhythms in 9 and 10 beat measures and of course, 12/8 – count measures in Flamenco rhythms and finger plucking. All of these styles came to fruition during Miguelito’s formative college years. During this time period, Mito found another natural ability; playing the Zamponia, Rondador, and the Siku (various sized pan-pipes) and transverse (played sideways; as a concert flute) wooden flutes. Most recently he had utilized this flute playing gift on his CD - Flamenco III.

The Education
IMAGINE; not being able to read music and within five short years, completing a B.A. of Fine Arts and entering an MA program in Orchestral Composition-Technology, the pinnacle of most music programs. “Some struggles are worth enduring.” - Mito

The musical change began in 1991 at the University of Wisconsin-Milwaukee. Mito enrolled as a “Broadcast major” hoping to get into radio. He maintained the thought that since he could not read music, (at the time) he would at least be around it through this career in radio. However, because he loved singing so much, Mito tried out and joined the university choir. During the spring semester of his second year in college (’92-’93), one of the voice professors (Evelyn LaBruce) heard and saw Mito perform at an annual concert and approached him asking if he would like to study with her. Although, unaware to her at the time, this was all of the chance beginning that Miguel needed.

Within weeks of this semester Prof. LaBruce taught Mito how to proficiently pluck out his vocal lines on piano and read S.A.T.B. scores. By the end of the semester she convinced him to become a “Voice major.” Miguelito had summer break to learn some basic music theory before taking the entrance exam for the music program. He bought a book on music theory and studied beyond full-time for the next two months. Before he returned to school in the fall of ‘93, Mito tested and “aced” the final exam for Fundamental Music Theory. This gave him instant entrance into Theory I, the first semester music theory class.

The professors knew that there was something unique about Miguelito’s focus, fortitude, desire and immediate grasp of music. They encouraged him to take a chance in the music program. From that point on, Mito virtually stopped playing guitar and focused on proficiently learning piano. After one semester in the music program his skills in voice and piano increased enough to merit changing his major from voice performance to choral director. He didn’t officially change his major but the intent was there. This too was a jump but not as much of a jump as fate had in mind for Mito; step by step, line upon line, precept upon precept, he pressed forward.

That spring (’94), Miguelito met an oboist from Oberlin College (a prestigious music college) who had been in Milwaukee working on her MA in performance. In late spring, seeing where his passion lay, she asked Miguel a poignant question, “Can you imagine never teaching music or directing a choir the rest of your life?” Miguelito’s reply was simply, “Yes, I can imagine not doing that.” She continued, “Well, can you imagine never composing or playing guitar?” he paused, “No… no way!” Referencing his major, she followed up with, “Well, what are you doing then? Go for it!” He decided she was right. That summer he bought a music composition book, Composing for the 20 th Century and took the entire summer going to the lakefront, lying on the grass near the beach, studying techniques and reading about avant-garde composition methods.

In the late summer of ’94, while speaking to a fellow classmate (who had been a composition major), Miguel was encouraged to speak to Yehuda Yannay (a composition professor) about becoming a Theory Composition Technology major (which is the pinnacle of most music programs). Keep in mind that this would be the third time changing his major in one field of study. Professor Yehuda Yannay ( Tel Aviv University graduate) agreed to teach Mito composition/technology on a probation/trial basis for that semester. It did not take long for Prof. Yannay to see the passion and natural ability of his new prodigy. Prof. Yannay became Mito’s mentor and confidant for the next three years. Mito also studied Electro-Acoustic Music (digital-analog studio engineering) through Prof. Jon Welstead (UC-Berkeley graduate) and Computer Music Theory and form structure from Prof. Gregoria Suchy.

Needless to say Mito had an extreme amount of “catch up” work compared to his fellow music composition majors, most of whom had been studying music before they could talk. After five long and rewarding years in the music program, Mito continued his studies pursuing an MA in Music Composition-Technology at U.W.-Milwaukee. Why did Mito stay in the MA program for only one year ’97-’98? Let us briefly back up to 1994 with the event that filled Mito with an unexplainable desire to pursue Flamenco music, and the event that instilled a propensity of joy to explore his ancestral roots in Europe (Spain in particular).

The Change
“Profoundness exists on many different levels within many different emotions.” - Mito

During the fall of 1994 Miguelito’s close friend and fellow classmate and classical guitarist Michael Bootzin, frequently purchased multiple tickets for himself, Mito and others for various guitar concerts throughout the Milwaukee metro area, this time was virtually no different from previous events with one exception, it was about to change Mito’s musical life forever. The world renownGuitar Trio was underway again. This group consisted of John McLaughlin, Al Di’Meola, and Paco de Lucia. Of course Miguel was elated to attend considering he had heard a CD from these incredible virtuosos produced years before, entitled Passion, Grace and Fire. This concert encouraged him to focus harder on his studies in music. It was this school year that Miguelito excelled in his self taught knowledge of FINALE ™ (a composition program) and Digital Performer ™ (Sound Design software). Mito became a hermit for the next nine months or more immersing himself in his new found love, orchestral computer composition. As incredible as this concert had been, it was not the pinnacle turning point for Miguelito. His music journey had just begun.

The reason for a dramatic change one’s life is usually astronomical, and profound, but to the observer it may seem mundane. For Miguelito this profound event happened the fall of 1995; Wednesday, Oct 25, to be exact. This evening opened a new perspective on life (life, which is equated to music for Miguelito). He attended a concert of world renowned Flamenco guitarist Paco de Lucia. The concert opened with Paco coming out alone (he had his sextet with him). Paco played an amazing solo guitar piece in the form of “ Solea.” This floored Mito because the previous year he had heard Paco play with John McLaughlin and Al Di’Meola, who are also incredible guitarists. John and Al played extremely fast solos however, they used pic’s. This was the profound difference for Mito, in regard to Paco… Paco did not use a pick, but rather picado (rapidly alternating the right hand index and middle fingers to pick the strings) to produce sound. He also played unbelievably fast and accurate, (called picado limpio in Flamenco terms). You would think this would be enough to encourage any serious guitarist to continue to work harder at his or her craft, but why stop the profound experience there?

Miguelito brought a poster from the university bulletin board, to the concert and yes… backstage to get Paco to sign it. In one of the most humble moments in his life, Mito looked up at Paco, who was larger than life, and anxiously pulled a pen from his pocket saying,

“ Con sus ordenes Paco . ¿Puede firma ésta para mi?
”Paco: “Si claro.”
Mito: “…que concierto increíble!”
Paco: “Gracias, eh…”
Mito: “MIGUEL”
Paco: “Gracias, Miguel”
Miguel: “Gracias a ustedes.”
Paco: “De nada, ‘buenas noches’.”

How would it affect you to meet your idol? To shake his/her hand, get a poster autographed, or exchange some pleasantries with a kind look?

From this point on Miguelito focused his time to reworking his guitar performance techniques. After a year of research, trial and error, and testing different types, he bought a nylon string guitar and began his new found passion. The world renowned Gipsy Kings, who play and sing rumba rhythms (the simplest form of Flamenco music). They were as good as any place to start, after all Mito loves to sing and the rhythms were not too difficult. Although the chord structures were very different for him, Mito grasped the concept quickly, then on to Strunz & Farah, Primal Magic to be exact. Strunz and Farah are two nylon string guitarists who combine melodies and rhythms from South America and Spain. Their solos are challenging because they use pics. Mito refuses to use a pick, therefore, when he began practicing their styles, some of the passages were too fast for him to obtain a clear picado. But that did not discourage him. It actually forced him to try that much harder at perfecting his craft. He never failed to press forward when things became very challenging.

Flamenco music styles are very intense with articulations that rival most classical compositions. Mito has studied the Flamenco guitar styles of innovative Flamenco guitarists; Carlos Montoya, Sabicas and Paco Peña, respectively. But his Flamenco guitar CD collection also includes world renown Tomatito, Niño Ricardo, Vicente Amigo, Manitas de Plata and of course the great Paco de Lucia. Mito has been also graced with a powerful voice. His voice is often likened to that of Flamenco famed Enrique Morente, José Soto and E. Montoya. However, his favorite Flamenco vocalists are: Duquende, Montse Cortes, Tana and the late great Camarón.

The Performer

“What we are allowed to accomplish in this LIFE, depends on the effort and persistence we are willing to put forth.” - Mito

Along with countless, smaller, more intimate venues Mito has had the great fortune of heading (that being one of the top performers) performances at:

“ Nokie Fest” in Eugene, OR; with Ruben Romero, Edgar Cruz & Wayne Wesley Johnson
“ Kentucky Guitar Jamboree”, Louisville, KT;
“Breckenridge Chamber Music Festival”, Breckenridge, CO;
“Cultural Chamber Music Festival”, Brownsville, TX;
“Spanish Guitar Festival”, San José, CA;
Mito also performed at various stages throughout the summer at the Milwaukee lakefront festivals for: “Summer Fest, Fiesta Mexicana, Festa Italiana, Asian Fest and Indian Summer”, Milwaukee, WI;

as well as many other wonderful concerts throughout the United States.

MOST MEMORABLE

The night of 9/11

“Flamenco Festival” The Scottish Rite Temple, Santa Fe, NM:

The Temple held to their original agenda of the concert that night. The performance was to commence at 6p.m., however, Mito has vivid memories of the Presidents “Address to the Nation” beginning at 6:00. He put a portable radio that the Temple had on hand, on a chair and put a microphone to it so the President would be audible throughout the theatre. Everyone listened intently to the report and the promises that followed and after a few moments of silence, and for Mito, regaining composure, the performers began, and gave a wonderful and passionate performance. Of course, the rest of the evenings conversation consisted of the earlier events and how they would affect, effect and infect the nation, but also how grateful everyone had been at the dedication of the musicians and dancers.

The night of 9/15

“Cultural Concert Series” College of Beeville (Cultural Ctr. for the Arts), Beeville, TX:

Days after 9/11 musicians and dancers drove to Beeville, TX because of course no flights were being made. But the concert series in Beeville was continuing. Mito had time to reflect about the recent events and being very compassionate decided to sing ( accapella) the national anthem. Because his emotion had been so high he almost did not finish. When he did finish, the audience was extremely silent with the exception of a few sniffles here and there. Suddenly, the audience broke out in a roar of cheers and yells. Mito recalls that “I did not know whether we could continue. I took a bow and tears rolled down my cheeks. I looked around me and somehow there existed this incredible connection between us performers. I think that was one of the best performances ever.”