The NAT is a prism through which the light of human emotions, experiences, natural and physical phenomena is shone, splitting the light and dancing on the walls. 

Countertenor/Trombonist David Whitwell, Percussionist Gustan Asselbergs and Pianist/Keyboardist Daniel Roser use methods of deep attention, listening, compromise and virtuosity to craft performances that consistently and genuinely move the emotions of audiences. 

The group started in 2023 after David moved from New York City to Haarlem, Netherlands and by coincidence saw a concert of Daniel and Gustan, who had been working together in a duo for years. David organized a 3 week residency in the Swiss Italian mountains at the UnCool house shortly thereafter and the NAT was born- the group found a common voice in an improvisation style that seeks unity of impulse and economy of ornament in search of a music that is seldom heard- a completely improvised music that is emotionally available, lyrical, and undeniably connected to the backgrounds of the members. 

The NAT is active in The Netherlands in a variety of avenues- they maintain an active performance schedule in theaters and jazz clubs playing a special type of concert that involves their own personal stories of loss, joy, immigration, religious trauma, humor and uncertainty to connect deeply with audiences young and old. They also produce their own concert series called NeverBefore/EverAfter in cooperation with 37PK Art Space, inviting prominent soloists to join the trio for one night. Past collaborators have included Dutch-American improv legend Michael Moore, American Trumpet powerhouse Peter Evans, prepared viola soloist and composer Julie Michael, microtonal pioneers Georg Vogel and Philipp Gershlauer. 

The NAT produces an ongoing and ever evolving St. Matthew Passion concert every year around Good Friday, supported from the beginning by Salon de Ijzerstaven in Amsterdam. An unashamedly heavy concert, the group uses the structure of Bach’s original work and roughly follows the contours of the Passion story, but each chapter is introduced by a personal or historical story told by each of the band members, ranging from an extremely personal story of loss to historical accounts of overcoming discrimination and ending, appropriately, with the Billie Holiday classic Strange Fruit, but sung in the haunting countertenor of David Whitwell. 

With a repertoire of their own arrangements of Bach, Bernstein, Schubert, Dowland, Thelonious Monk and their own compositions serving as starting points for improvisations, the NAT truly honors composers of the past by carving a place for them in the now, as well as attempting to resolve the tension between notated material and spontaneous improvisation.