C (3:22)

What excited you about exploring this intersection of the music and nature and humanity?

B (3:33)

Well, I mean, what would not. I mean, that's like. That's all of existence to me, I think. So. It's like, it's such an expansive topic. But I grew up playing music, so I. I'm a jazz bassist by training, and I also married a gardener, a landscaper who spends his days planting trees. So I've spent a lot of time in the dirt and soil, especially since the pandemic. You know, just going out into the garden and see. Seeing how ecosystems work. And also my other work with terrestrials really gets me curious about the strangeness here on Earth. And so I've just been cultivating all these separate passions in my life, and this was an experience where I could, like, bring all of them together.

C (4:17)

My guest is Ana Gonzalez, host of our Common Nature podcast. She's a senior producer here at wnyc. Let's talk about an episode. It's inside Mammoth Cave. This is so cool. It's in Kentucky, and a local composer's piece performed inside of the cave. Can you describe. Describe the cave for us?

B (4:39)

Well, I think, you know, if you live in cave country, you know what caves are like. Not everybody knows what caves are like. Most of Kentucky is on top of a cave, like, the entire state, and it's hundreds and hundreds of miles of cave. It's an underground world. These are enormous, expansive caverns that people have been going to for. Since time immemorial. You know, native peoples, before written history, you have people. It became a tourist attraction in the 1800s. There was a train that went there, and at one point, local landowners wanted to make it, you know, kind of like one of the wonders of the world and invite people and they hired or. Or enslaved people to work as cave guides. So it has this very complicated human history and, like, natural history. So the cave itself is. Is the longest, I have to make sure I say it correctly, the longest cave system in the world, and it's in Kentucky. So it's really hard to explain with words. You kind of have to listen. Listen to how cavernous the music is, but also, like, visit if you get a chance. Mammoth Cave National Park.

C (5:54)

Well, if you look on our Instagram stories right now, you'll get to see sort of a picture of the cave, of what it was like. And to your point, let's hear a little. This is in Mammoth. It's composed by Teddy Abrams, musical director of the Louisville Orchestra, and performed in Mammoth Cave. And the voice that you will hear is Devon. Ty.

B (6:36)

Deep.

D (6:39)

Breath alone. Help me cross over to the other side O dawn. You want to go to that freedom.

E (7:04)

Feast.

D (7:07)

That promise where all is peace.

A (7:26)

So beautiful. What qualities of the cave were brought out by the performance?

B (7:32)

Just how expansive it was. I mean, it was so at once humongous, but also cozy. You know, it felt protected. It felt like this moment. And there were multiple performances of this enormous piece. It was over an hour long. It had a full orchestra, two harps, flip percussion section, yo yo strings, the whole nine yards, plus acquire, plus Devon as a soloist, and some spoken word parts. It was absolutely complicated. And we were going to different places to experience these different sonic moments. And so in that piece in particular, you hear both the. The reverberations from the cave walls, but you also hear this. This human element where Devon is a vessel for this song that represents so many different histories. Deep River. You know, it's. It's written, it's. It's a spiritual, but it's being sung in this context about the Ohio river, which forms a border between the American, the. The south and the north during the Civil War. So crossing it would have meant freedom for the people singing it. And at that moment, you hear just the hugeness of both the voice and the history that it's representing.

A (8:52)

I understood it was. It's somewhat risky to take instruments into the cave. Why is that?

B (8:58)

Oh, yeah, okay. Well, the cave is 54 degrees Fahrenheit, day in, day out, which is cold for an instrument which is made out of metal or wood, which usually classical instruments, they generally have no screen, like very many screws. This is all tension and body warmth. And it's also kind of humid, which is also bad for instruments. We don't like that. And so it was. There was this process of, like, bringing the instruments in and bringing the instruments out. And it was deep. It was like at least a quarter mile down, down into the cave. And it was. It was a real operation every single day. So it speaks to, like, the creative integrity and kind of tenacity of Teddy Abrams and the Louisville Orchestra down to do that. Because there are probably some musicians who are like, I'm not bringing my instrument down there.

A (9:51)

We're talking to Ana Gonzalez, host of.

C (9:53)

Our common nature podcast. Let's listen to something else. This is from the first episode, and we hear a piece of music composed to welcome the dawn. Tell us a little more about this before we hear it.

B (10:07)

Sure. So this first episode, which is out today, it focuses on Yo Yo's travels. Travels up to Maine, where he met with Wabanaki musicians, including Chris Newell and Lauren Stevens. And they kind of explained their cultural tradition of not just welcoming the dawn, but, like, using music to pull the sun onto the continent. And. And, yeah, like, it was their duty as Wabanaki people is what Chris Newell says to. To welcome the sun, to greet the sun, but to pull the beams of light for the rest of the continent to experience every single day. So this was. This was a performance. It was not a ceremony, but it was. It was kind of using some of those traditional musical pieces and moments to. To create some sort of musical collaboration that. That really focused on, like, bringing the people there to the present and understanding how grateful we could and should be every single day to see the sun.

C (11:12)

Let's listen.

B (11:18)

Chris started looking through old tapes of powwow performances that he'd done, and he found this recording of his old bandmate Kenny singing an original piece.

D (11:34)

Listening to him sing it, and I was like, you know that melody, the way he's singing it, I bet you could pull that off on a cello.

B (11:41)

This was the first time I had ever heard our traditional music with a non traditional instrument. And to hear the welcome song played by yo yo on the cello, it resonated internally, like I could feel it in my body. It vibrated my soul.

C (12:10)

That's very beautiful. So, Anna, I'm gonna real deal. You're a radio person. You deal with audio. Do you have any advice for people who want to tune their ears in to listen for that. That interplay between a physical space and the sound and the music?

B (12:28)

Yeah. I mean, my first bit of advice would be to take your AirPods out on your walks. Like, you know, tune into your body and how it exists in the space. No matter where you are, you know, it doesn't matter if you're in a city walking down the street. Because the overarching kind of another thesis from this podcast, which is also indigenous wisdom, is that we are part of nature. There is no separation. We are innately part of nature. Human beings are part of the earth. And so any noise that you make is part of the Earth's noise is part of nature's Noise. So. So, yeah, being present in your body is number one. And that requires you to kind of stop taking in other information that might cloud that perception, and then just tune into the sounds of the birds, the sounds of the leaves and the wind and the water. And no matter what body of water you're by it, I'm sure, I assure you, it's making a sound. And all of that is part of your experience on this planet. And if you can start doing that and make it a practice in your life, you'll be begin hearing things that you never heard before.

C (13:38)

A number of the performances include some sort of relationship with climate change. A birch forest decimated by melting permafrost, for example. How did climate change factor into the way you and your team were thinking about these episodes?

B (13:54)

Well, it's even risky to say climate change in this day and age, unfortunately. So there. There was sometimes a hesitation, truthfully, like, should we say this? Should we say this is climate change? But at a certain point, you're just like, how else are we going to describe what's going on? You know? So it was really through talking with people who are experiencing the changes in their homelands and hearing how it affected them and how it continues to affect them. And that was incredibly clear everywhere, but nowhere clearer than Alaska when we went up there. Like you said, there's melting permafrost, but there's also melting glaciers, which warms the waters, which affects the fish populations. And the fish populations are keystone species. And without migratory salmon, the entire ecosystem of the Arctic would collapse. So these are things that are already playing out in the lives of people. And so if someone's saying, this is my experience, and I'm recording them and they're showing me, hey, there's no salmon in this river. There used to be thousands of salmon in this river, and there's not a single one. How can I say, well, that's not climate change. You know, there's. And then backing it up with research and reporting and science that is out there and people who are speaking truth about these things just based on numbers and based on things that are happening in front of us.

C (15:14)

Tell us about some episodes that we might hear coming up.

B (15:18)

Okay, so today we got the Acadia Sunrise. Beautiful, amazing, Great way to start the series. Next week we go to Mammoth Cave in Kentucky with the Louisville Orchestra. Etc. Then we're gonna go to the Smoky Mountains, which is super exciting for me because I am, as I said, a jazz bassist by training. And part of that episode is we go to Mingus mill, which is the historic home of the Mingus family. If that name is ringing a bell, it's Charles Mingus, the bassist. So it's where his family was once enslaved. And we go there with Charles Mingus's son, Eric Mingus, who wrote, who is, who's a musician in his own right and a poet. He wrote a piece based on the mill, and he performed it at a cemetery that was recently uncovered. That is an enslaved cemetery by the mill that he believes he has family in. It's a beautiful like, I'm getting goosebumps just thinking about Eric's performance of this piece. So that is in the Smokies episode. And they're just we go to Hawaii, we learn about two different places on two different islands, and you yo yo goes on a traditional Polynesian canoe called Hokule' a and plays for the humpback whales. So it really travels the planet quite a bit. And I'm very excited for people to finally hear these stories.

A (16:41)

The name of the podcast is Our Common Nature. It features Yo Yo Ma and Ana Gonzalez. Thanks so much.

B (16:49)

Thank you, Alison. For 140 years, MultiCare has been in Washington prioritizing long term solutions, partnering with local communities and expanding access to care.

C (17:01)

Together, we're building a healthier future.

B (17:03)

Learn more@mycare.org.

E (17:07)

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