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Seattle composer, interdisciplinary artist, and farmer Nat Evans released Time Being in August of 2019, but it’s hard not to feel like it was written for our present cultural moment. Thankfully, we got Evans into the studio to talk about the piece just before the stay-at-home order was instituted.
In this interview, we talk with him about the 13th century text and Zen master who inspired Time Being, and about his current project which is an homage to his own Zen teacher who passed away last year.
Album art by Erin Elyse Burns.
Nat Evans’ Time Being is out now. Click here to listen to it.
Nat Evans and Will Hayes at the Grocery (photo by Dacia Clay)
Imagine that you’re having a nightmare. There’s a monster chasing you. It’s a dark, shadowy threatening thing that devours everything and everyone in its path, working its way ever-closer to you. You instinctively try to run. And then, at the inevitable moment when it’s upon you and you know that you’re done for, something unthinkably terrifying happens: you realize that the monster is you.
That moment of Edvard Munch-level terror is at the heart ofNat Evans’multimedia work, Flyover Country: How do contemporary people deal with, as Evans puts it, our “disconnected collective consciousness,” wherein we have convinced ourselves through the stories that we tell that we are separate from the natural world and from our origins?
Flyover is also a meditation on the power and function of story in our lives, starting with Evans’ own family. In 2017, he began to look at family trees and photos dating to the 1870s, piecing together the stories of his forebears; he also began to dig into the stories of contemporaneous indigenous people. What emerged from his research clearly mortified him. Where his family’s historical records petered out, stories of their indigenous counterparts came violently to the fore. In short, Evans began to suspect that there was a direct link between his family and mass atrocities of the past.
The audience at Beacon Hill’sGrocery Studiosthis Sunday night (May 20, 2018) experienced the horror of what Evans unearthed along with him – his family’s link to the genocide of indigenous people, the slaughter of the bison, and the pillaging of the earth – when the performance reached a climax of truly scary cognitive and musical dissonance. For most of the piece up until that point,Will Hayes’sguitar had been dreamy and expansive. But at that moment, it escalated to wretches and squeals, and the room went dark as the audience choked on the starkness of what Evans had laid out for us. The story completely unraveled leaving us to sit with the heartlessness, callousness, and opportunism deep in the roots of the United States.
But what were we to do with that information? Where were we to go from there? Especially when, as Evans pointed out, our country is still doing it. We’re still, for example, draining the Ogallala Aquifer and leaving behind dead lands (aka, “flyover country”). The land beneath the building we were sitting in, as Grocery Studios’Janet Galore pointed out before the performance began, was part of unceded indigenous lands that belonged to the Coast Salish people.
I don’t want to spoil the experience of Flyover Country for you so I won’t tell you about the edict/conclusion that Evans left the audience with. But I will say that it had to do with harnessing the power of story for good. And that it involved a really stubborn buffalo.
Flyover Country is the distillation of one artist wrapping his head around the enormity of his origins – both those of his family and of his country – and what those things mean here and now. Through acoustic and electronic music, a slideshow of archival photos and video, field recordings, and spoken text, Evans has woven together a deeply personal story, but he leaves enough space for us to inhabit it. It’s a piece that’s impossible not to think about for hours and days after, precisely because it’s a story that we’re all still writing.
Second Inversion and theLive Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between!
Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”
Wayward Music Series Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: avant-garde piano solos, Eastern-European cimbalom songs, a dark ambient memorial, and more. Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15
Live Music Project: 4th Annual Lecture-Concert The Live Music Project celebrates its 4th birthday with a scintillating lecture from a cyborg, a centuries-spanning solo violin performance by Mikhail Shmidt of the Seattle Symphony, a ticket giveaway, and the most adorable cupcake toast this side of the Cascades. Tues, 5/1, 6:30pm, Naked City Brewery & Taphouse | $30
DXARTS: Points vs. Fields UW School of Music faculty performers Cuong Vu, Ted Poor, Richard Karpen, and Juan Pampin perform an ephemeral new improvisation for trumpet, drums, piano, and live electronics, programmed alongside Bernard Permegiani’s classic exploration of the meaning of sound itself, De Natura Sonorum for loudspeaker orchestra. Tues, 5/1, 7:30pm, Meany Theater | $10-$15
Emerald City Music: Metamorphosis A season-long celebration of Leonard Bernstein’s centennial ends with a special multimedia feature on the iconic conductor, plus performances of two composers whose work he championed during his lifetime: Strauss and Beethoven. Fri, 5/4, 8pm, 415 Westalve Ave, Seattle | $40-45 Sat, 5/5, 7:30pm, Evergreen State College Recital Hall, Olympia | $23-$43
Matt Shoemaker Memorial Concert Longtime friends and collaborators of the late Matt Shoemaker perform works in his honor ranging from experimental noise to sound art, dark ambient, and beyond. Sat, 5/5, 7pm, Good Shepherd Chapel | $5-$15
Town Music: JACK Quartet with Joshua Roman Cellist Joshua Roman joins forces with the JACK Quartet to perform his new piece Tornado, inspired by his roots in Oklahoma. Works by Jefferson Friedman, John Zorn, Amy Williams, and Carlo Gesualdo complete the program. Thurs, 5/10, 7:30pm, Seattle First Baptist Church | $15-$20
Harry Partch Festival Experience the handmade microtonal instruments of Harry Partch in this sprawling three-day music festival featuring new works composed for Partch’s instruments, as well as rarely-performed works from the composer’s archives. Master classes, demonstrations, and lectures, complete this homage to a uniquely American artist. Fri-Sun, 5/11-5/13, Various times, Meany Theater | $10-$60
Portland Cello Project Equally at home in rock clubs and concert halls, Portland Cello Project reimagines classical favorites and contemporary hits alike for their famous choir of cellos. Expect everything from Bach to Coltrane to Radiohead. Tues, 5/15, 7:30pm, The Triple Door | $26-$35
Seattle Art Museum: John Cage’s Themes and Variations John Cage is best known as one of the leading figures of the 20th century avant-garde in music—but much of his work crossed boundaries into performance art, theatre, and even visual art. His sculpture Not Wanting to Say Anything About Marcel recently joined the Seattle Art Museum’s collection. Learn more about his contributions to both art and music in this conversation with curators Catharina Manchanda and Carrie Dedon. Wed, 5/16, 6:30pm, Seattle Art Museum | $10
Peter Nelson-King: Post Avant-Garde Multi-instrumentalist and modern music rabble-rouser Peter Nelson-King presents an eclectic program of individualist piano music from the 1980s, featuring works by Robert Beaser, George Benjamin, Peter Sculthorpe, John Tavener, Augusta Read Thomas, Charles Wuorinen, and more. Thurs, 5/17, 8pm, Good Shepherd Chapel | $5-$15
Seattle Pro Musica: Sacred Ground Explore the intersections of music, spirituality, and the natural world in this program of nature-inspired works by Tõnu Kõrvits, Hyo-Won Woo, and Healey Willan. Fri, 5/18, 8pm, St. James Cathedral | $12-$38 Sat, 5/19, 8pm, St. James Cathedral | $12-$38
Nat Evans: Flyover Country Composer and interdisciplinary artist Nat Evans uses his family history across the last three centuries as a lens to look at ecological destruction, genocide of indigenous people, capitalism, and food systems in the United States. Sat-Sun, 5/19-5/20, 8pm, The Grocery | $5-$20
Mostly Nordic: Finlandia The Emerald Ensemble perform Jean Sibelius’s beloved hymn to Finland alongside 20th century works by Finnish composers Einojuhani Rautavaara, Jaakko Mäntyjärvi, and more. Sun, 5/20, 4pm, Nordic Museum | $25
Music of Remembrance: Gaman A world premiere by composer Christophe Chagnard explores the experience of Japanese immigrants who were forced into internment camps in the wake of the attacks on Pearl Harbor. Combining traditional Japanese and classical Western instruments, the piece brings a powerful story to life through the words and images created by three artists and poets during their captivity in the Minidoka camp. Sun, 5/20, 5pm, Nordstrom Recital Hall | $30-$45
The Westerlies Far from your typical brass band, this Seattle-bred, New York-based quartet is known on both coasts for their bold artistry, impeccable finesse, eclectic musical interpretations, and remarkable versatility. The band returns to the West this month for a one-night-only performance in Seattle. Wed, 5/23, 7:30pm, The Royal Room | $5-$15
Frequency with Yura Lee: Dialogues Guest violinist Yura Lee joins members of Frequency (violinist Michael Jinsoo Lim, violist Melia Watras, and cellist Sæunn Thorsteinsdóttir) for duos by Berio, Maderna, Ravel, and Watras. Also on the program is Dohnányi’s Serenade for string trio. Sun, 5/27, 7:30pm, Meany Theater | $10-$20
Second Inversion and theLive Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between!
Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and be sure to tag it with “new music.”
Racer Sessions A weekly showcase of original music with a jam session based on the concepts in the opening presentation. Every Sunday, 8-10pm, Cafe Racer | FREE
Wayward Music Series Concerts of contemporary composition, free improvisation, electronic/electroacoustic music, & more. Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15
Eighth Blackbird with Will Oldham (Bonnie “Prince” Billy) Will Oldham joins Eighth Blackbird for half the program with original songs and Frederic Rzewski’s Coming Together. The program also includes Bryce Dessner’s Murder Ballades, and David Lang’s Learn to Fly. Thursday, 5/4, 7:30pm, The Neptune Theatre | $33.50
Harry Partch’s Oedipus: A Musical Theater Drama The UW School of Music presents the rarely performed Oedipus by Harry Partch after the play by Sophocles. This performance is a “multi-genre theatrical work” featuring a unique collection of Harry Partch’s handmade instruments currently in residence at UW. Friday, 5/5, 7:30pm, Meany Theater | $10-$20 Saturday, 5/6, 7:30pm, Meany Theater | $10-$20 Sunday, 5/7, 2:00pm, Meany Theater | $10-$20
Seattle Classical Guitar Society Presents Antigoni Goni Award winning guitarist and renowned pedagogue Antigoni Goni performs a solo recital including music by contemporary Greek composers and others. Saturday, 5/6, 7:30pm, Nordstrom Recital Hall, Benaroya Hall | $38
Angelo Rondello: Music of Our Sister Cities Seattle Music Exchange Project presents pianist Angelo Rondello. The program includes music of Seattle’s sister cities in Italy, Japan, Hungary, and Norway. Thursday, May 11, 7:30pm, Nordstrom Recital Hall, Benaroya Hall | $20-$42
Seattle Symphony: Celebrate Asia Seattle Symphony is joined by Indian composer, producer, and performer A. R. Rahman is their ninth annual celebration of the musical traditions of Asia, focusing this year on India and Japan. Friday, 5/12, 7:00pm, Mark S. Taper Auditorium, Benaroya Hall | $40-$105
DXARTS: Music of Today The UW School of Music and The Center for Digital Arts and Experimental Media (DXARTS) present a concert of audio and video by current DXARTS students and alumni. Friday, 5/12, 7:30pm, Meany Theater | $10-$15
Gamelan Pacifica: Lou Harrison at 100 Years Celebrate the centenary of Lou harrison with a rare opportunity to experience his music for gamelan and percussion live. Saturday 5/13, 8:00pm, Good Shepherd Chapel | $5-$15
Seattle Rock Orchestra Performs The Beatles In a Seattle Mother’s Day tradition, Seattle Rock Orchestra performs the Beatles. Bring your mom. Saturday, 5/13, 8:00pm, Moore Theatre | $25 Sunday, 5/14, 2:00pm, Moore Theatre | $25
Nat Evans’s Vertical Saxophone Aura Readings at Seattle Art Museum Nat Evans presents an interactive work for saxophonists on escalators. Two saxophone players serve as personal sound escorts to museum patrons on the escalators leading up to the Seeing Nature exhibition. Thursday, 5/18, 7:00pm, Seattle Art Museum | free-$20
Ecco Chamber Ensemble: Enough is Enough Ecco ends their inaugural season with music that protests modern violence and points toward peace, including a premiere by Seattle composer Sarah Bassingthwaighte. Saturday, May 20, 2:00pm, St. John United Lutheran Church, | $15
Seattle Metropolitan Chamber Orchestra: SPARK.1 This Capitol Hill performance marks the first event in SMCO’s genre-bending SPARK series. Live SMCO musicians are joined by local DJ Suttikeeree and the Skylark Horn Quartet. Saturday, May 20, 8:00pm, Fred Wildlife Refuge (21+) | $25
This Sunday is Earth Day: a worldwide event dedicated to education and awareness around issues of environmental protection and sustainability. But here in Seattle, every day is Earth Day; every day, we strive to take care of our planet and work toward a sustainable future.
So in celebration of our beautiful planet—both last weekend and every day—we’re sharing some of our favorite pieces inspired by plants, animals, and the overwhelming magnificence of Mother Nature:
Mamoru Fujieda: Patterns of Plants
We experience plant life through a variety of senses: sight, taste, touch, smell. But have you ever wondered what plants sound like? Japanese post-minimalist composer Mamoru Fujieda decided to find out.
He spent 15 years of his career creating music based on the electrical activity in living plants. Using a device called a “Plantron,” he measured electrical fluctuations on the surface of plant leaves and converted that data into sound. Fujieda then foraged through the resulting sonic forest for pleasing musical patterns, which he used as the basis for his magnum opus: a bouquet of piano miniatures blooming with ornamented melodies and delicate details.
Meredith Monk: On Behalf of Nature
Meredith Monk likes to think outside the box—the voice box, that is. Famous for her groundbreaking exploration of the voice as an instrument and a language in and of itself, her music speaks volumes without ever using words.
Monk’s multidisciplinary performance piece On Behalf of Nature is a wordless poetic meditation on the environment; an exploration of the delicate space where humans coexist with the natural and spiritual world. The result is an almost ritualistic soundscape of extended vocal techniques dancing above a hypnotic and at times eerie instrumental accompaniment.
John Luther Adams: Become Ocean
Just about everything in John Luther Adams’ musical oeuvre qualifies as organic Earth Day ear candy, but we Seattleites are partial to his Pulitzer Prize-winning masterpiece Become Ocean, commissioned and premiered by our own Seattle Symphony in 2013.
Inspired by the spectacular waters of the Pacific Northwest and composed in reaction to the imminent threats of global warming, Become Ocean is a literal ocean of sound—a sparkling seascape that immerses the listener in beautiful washes of color. Harmonies ebb and flow with the fluidity of the tide, cresting into bold, climactic waves amid misty and melodic winds.
“As a composer, it’s my belief that music can contribute to the awakening of our ecological understanding,” Adams said. “By deepening our awareness of our connections to the earth, music can provide a sounding model for the renewal of human consciousness and culture.”
Nat Evans: Coyoteways
Seattle composer Nat Evans spent many a night listening to the lonely howl of the coyote as he hiked the 2,600-mile Pacific Crest Trail. So many, in fact, that the animal became the inspiration (along with the writings of Beat poet Gary Snyder) for an album that explores the mythological role of the coyote as a cunning trickster and schemer.
Coyoteways evokes the vast and expansive landscapes of the American West by layering field recordings from Evans’ travels brushed with long, sweeping guitar lines and occasional whispers of saxophone and percussion. The result is an ambient soundscape that echoes with the simple splendor of the great outdoors and the stealthy gaze of the coyotes that watch over it.
Whitney George: Extinction Series
Our planet is currently in the midst of itssixth mass extinctionof plants and animals—the worst wave of species die-offs since the loss of the dinosaurs over 65 million years ago. Composer Whitney George is fighting to change those numbers.
George’s Extinction Series is an ongoing collection of somber and introspective miniatures for various solo instruments, each one composed as a musical obituary to an extinct animal on the rapidly-growing list. The sheer volume of this indeterminate series serves as commentary on mankind’s careless destruction of our planet—and it also poses a direct challenge to Earth’s inhabitants: in order for the series to ever be completed, we must first fundamentally change how we interact with our environment.
