Composers Jessi Harvey & Kaley Lane Eaton for Sea Change Within Us with Installation by Roger Feldman
The sound score includes electronic and acoustic recordings: an original score with string quartet by Harvey*; electronics and sounds from Eaton’s great-great-great-grandparent’s piano that traveled by raft up the Missouri River woven with the voices of interviewees from our collaboration with Devi Lockwood’s 1,001 Stories on Water and Climate Change. Visit the interactive map of 1,001 Stories on Water and Climate Change, including our Seattle interviews, HERE.
*Alina To - Violin, Rafael Howell - Violin, Heather Bentley - Viola, Rose Bellini - Cello
String Quartet Recorded and edited by Greg Dixon
JESSI HARVEY, also known by George, is a Montana-born, Seattle-based composer, with degrees from Bryn Mawr College and University of New Mexico. Her music is a synthesis of musical influences and draws from philosophy, literature, nature, and various aspects of the sciences.
Jessi’s work focuses on collaboration with other artists as well as integrating creation with social and environmental causes. As a Teaching Artist with the Seattle Symphony, she has been a composer and arranger for the Lullaby Project and co-facilitated a collaborative composition project with students from Path With Art. In April 2018, she curated THINGS THAT BREAK, a multi-disciplinary concert experience with collaborators Becky Joy Aitken, animator, Sonya Harris, storyteller and photographer, and Aimee Hong, performance artist, all creating works based on the theme of breaking. Seattle Maghas described her music as “full of surprises and consistently attention holding.”
Recently, works have been performed at the Waterloo Contemporary Music Sessions, Music by Women Festival, and Oh My Ears Festival. Jessi will have premieres later this summer at the Montreal Contemporary Music Lab and with The Art Song Collaborative Project in Toronto.
DR. KALEY LANE EATON is a composer and soprano currently based in Seattle, WA. Her work has been performed across the US and internationally, in venues ranging from Hong Kong concert halls, to the streets of Skid Row in Los Angeles. Eaton's work crosses genre boundaries, exploring how the voice, body, and unconscious world of the performer can provide musical narratives through live digital processing, machine listening, sensors, and improvisation. Her “disconcertingly lovely” (Seattle Magazine) compositions are quickly gaining notoriety for combining innovative digital technology with ancient performance practices.
Eaton's work has garnered recent support from the Seattle Office of Arts and Culture, Allied Arts Foundation (2018 Listen Up! top-tier grant recipient), 4Culture (2017 Tech-Specific Grant recipient), the Atlantic Center for the Arts (2017 Associate Artist), the International Alliance for Women in Music (2017 Pauline Oliveros New Genre prize for lily [bloom in my darkness]), and the Hambidge Center for Creative Arts and Sciences (2017 Distinguished Holland and Knight Fellowship). In April 2019, the Seattle Symphony Orchestra and composer-in-residence Derek Bermel will premiere her new commission for clarinet quintet and electronics in the Symphony’s new Octave 9 space, making Eaton one of the first composers to use the cutting-edge technology of this room compositionally.
In addition to frequently performing her own work as a vocalist and laptop wizard (usually at the same time), she is an avid collaborator, enjoying both traditional commissions and unconventional creation with choreographers, solo artists and chamber ensembles across the country. With flutist Leanna Keith, Eaton is co-founder of Stack Effect, a flute and voice duo. Also with Keith and violist Heather Bentley, Eaton co-directs Kin of the Moon, an improvisation-centric and technology-friendly chamber troupe in Seattle. Both Stack Effect and Kin of the Moon have been recent features at new music festivals such as Oh My Ears! in Phoenix, NUMUS NW in Seattle, and the National Flute Association Convention.
As a writer with particular interest in the role of musical composition's relationship to our larger culture, Eaton has been published by KING FM's Second Inversion ("Women, Creativity, and the Classroom" (2016) and "Reflections on Wilderness" (2017)) and Common Tone Arts ("Things I wish I had known when I thought I couldn't be a composer" (2017)).
Eaton holds a DMA in composition from the University of Washington and is Director of Music Technology at Cornish College of the Arts.