Deep Listening Label
Deep Listening Publications is proud to present its own label.
EVIDENCE IRIS
IRIS, the second CD release from the duo Evidence (Stephan Moore and Scott Smallwood) on the Deep Listening label, is also their first video release. The DVD has the same sonic material as the music on the CD, but it features video pieces by the duo's favorite live-video performers, including Benton-C Bainbridge, Betsey Biggs, Fi$h2000, Madeleine Gallagher, Dawn Haleta, David Lublin, Jonathan Lee Marcus, Olivia Robinson, skfl, Diana Reed Slattery, Jack Turner and Walter Wright. These pieces emphasize the spontaneity of the artists' live performances, the practice of using "found" materials, and suggest the emergence of a regional aesthetic stemming from the recent hotbed of media performance centered around Troy, New York.
Stephan Moore is a composer, improviser, audio artist, sound designer and software programmer from Marquette, Michigan, currently based in New York City. His work is grounded in the collection and investigation of environmental sound recordings and a fascination with the perception and properties of acoustic environments. Performances and installation artworks make use of multi-channel arrays of his Hemisphere speakers. He maintains several ongoing collaborations with diverse musicians, live-video artists and choreographers. He is currently the Sound Supervisor of the Merce Cunningham Dance Company.
Scott Smallwood was born in Dallas, Texas, and grew up at 10,000 feet in elevation in the Colorado Rockies. When Smallwood was 10 years old, his father gave him a cassette tape recorder, and ever since he has been fascinated by the possibilities of recorded sound. His work deals with real and abstracted soundscapes based on a practice of listening, improvisation, and phonography. Ranging from sonic photographs, studio compositions, instrumental pieces, and improvisations, the resulting pieces are often textural, always mindful of space and subtlety.
Jonas Braasch - Global Reflections
From the liner notes:The core of the project "Global Reflections" is a collection of Binaural Soundscapes which were recorded between the years of 1998 and 2006. They are presented on the odd tracks of this CD. What has fascinated me most about these pieces is nature's ability to align independent events to form interesting patterns. For this, I took the standpoint of the observer; my credits are merely due to choosing the time and place of the recording. Consequently, the effect is often similar to aleatoric works of music. I hope you will share my enthusiasm about the variety of auditory icons in each Soundscape, which makes a city identifiable. All even tracks contain pieces of my own work. The solo improvisations in Tracks 2, 6, 10, and 14
can be seen as an abstract transformation of my perceived environment. Only the beginning theme in Track 2 was fixed before the recording. In Track 10, you might be able to notice my affection for repetitive and machinery like sounds.
Tracks 4, 8, and 12 consist of ensemble recordings with soprano saxophone, Moog bass, and Soundscape fragments. One goal was to preserve the original character of each instrument or environmental sound opposed to making their origin unidentifiable through extensive electronic processing. Indeed in some cases, the lengthy Soundscapes shape the character of the piece, and again I am surprised how often their aleatoric elements tend to fit perfectly into the music. "A Night in Battambang" was written in 1995 while visiting my parents in Cambodia. The piece was performed using the classic rock trio formation of lead instrument, bass and drums when I arranged the song for this CD. "Time to Move On" is based on a Turkish 9/8 rhythm, the Karsilama. Originally, the piece had a theme but in the end, I liked the track better without it. I decided to counterpoint the long, circular-breathed saxophone phrases with abrupt changes for the remaining instruments. The ballad, "Blues Me," started as an experiment while wondering why tenor saxophone ballads are usually slower than alto and soprano saxophone ballads. At 50 beats per minute, this ballad is at the lower end of most Tenor Ballads. Long Soundscape passages were chosen to reflect the lethargy.
Jonas Braasch is a soprano saxophonist, improviser/composer, acoustician and a dedicated collector of binaural soundscapes. He grew up in the Ruhr Area, Germany's cultural melting pot, and Pusan, South Korea. His saxophone style expands the traditional repertoire [in both Classical Music and Jazz idioms] by incorporating various non-western elements, as well as original extended techniques.
Another aspect of his work is the integration of soundscapes and other concrete
elements, a clear reflection of his personal relationship with the environment.
This sensibility has inspired him to create complex synthetic sound fields which
he then integrates into his compositions. To improve the control over the spatial
parameters of these sound fields, he developed a
virtual environment to simulate sound recording techniques based on Virtual
Microphone Control (ViMiC).
Pauline Oliveros - Lion's Eye/Lion's Tale
Lion's Eye for Gamelan was commissioned in 1985 by Barbara Benary for Gamelan Son of Lion. Lion's Eye for Synthesizer was commissioned concurrently by Neil Rolnick for iEAR Presents at Rensselaer Polytechnic Institute. Both versions were performed in 1985. The intention to combine both pieces in order to expand the tempo range of the Gamelan was first realized in May of 1989 in performances by the Berkeley Gamelan in Oakland and San Francisco, California under the direction of Daniel Schmidt. This version of Lion's Eye is recorded on this disc. The duration of "Lion's Eye" is forty-five minutes. "Lion's Tale" (1989) is composed of layered polymetrical, polyrhythmical patterns. The patterns are played at speeds ranging up to 1800 per minute. The composer designed patterns are generated by the computer program. "Lion's Tale" may be created in a new version every time the program is run. "Lion's Tale" also exists in a MIDI version for a keyboard performer. Both versions are available from Deep Listening Publications. Known internationally as a composer, accordionist and teacher, Pauline Oliveros's work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros' compositions have been performed worldwide.Item number DL-CD-28; CD $16.00
Primordial Lift - Full Version
"Originally released on the Table of the Elements label and long out of print, this version of the recording contains an additional 30 minutes of material not included on the original release. Recorded live on March 20, 1998 at Hallwalls, Buffalo, NY. Primordial/Lift is based on information concerning the shift in the resonant frequency of the earth from 7.8hz to 13hz given in Awakening to the Zero Point by Gregg Braden, Radio Bookstore Press (1997). According to Braden, the resonant frequency of the earth was measured as 7.8hz in 1960 and by 1994 the measurement was at 8.6hz and it will rise to 13hz by 2010. At the same time the magnetic fields of the earth are diminishing in strength towards zero point. By the time that 13hz is established as the resonant frequency the magnetic fields will reverse their polarity - North will become South and vice versa. The acceleration from 7.8hz to 13hz of the earth's resonant frequency is represented in Primordial/Lift by a low frequency oscillator." Pauline Oliveros - accordian & electronics, voice; Andrew Deutsch - electronics & toy piano; Tony Conrad - electric violin & ring modulator; Anne Bourne - cello & voice; Alexandria Gelencser - electric cello; David Grubbs - harmonium; Scott Olson - low frequency oscillator.
Fritz Hauser - Deep Time
Pauline Oliveros, accordion & Expanded Instrument System; David Gamper, Expanded Instrument System electronics, misc. small instruments; Urs Leimgruber, soprano & tenor saxophones; Fritz Hauser, percussionDEEP TIME is a tape composition commissioned in 1991 by the Deep Listening Institute for Deep Listening Band.
Fritz Hauser's tape features recordings of sounding stones (manufactured by Arthur Schneiter) and various watches and clocks (thanks to the Bucher family in Switzerland for permission to record that family clock!). The performers improvise with the tape. On October 26, 1994 Pauline Oliveros, David Gamper, Urs Leimgruber and Fritz Hauser recorded 2 versions of DEEP TIME. Both of these 32 minute recordings are included here.
Fritz Hauser is a drummer and composer from Basel, Switzerland. He has developed his sound language in varied ways. From solo concerts, in diverse ensembles, through multi-media projects (theater dance film radio) and many recordings, he has contributed to the development of the drumset from a mere timekeeper to an instrument in its own right.
Known internationally as a composer, accordionist and teacher, Pauline Oliveros's work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros' compositions have been performed worldwide.
Composer/performer David Gamper is especially concerned with music performance electronics. He received a BA in mathematics in 1967 from Bowdoin College, and returned there in 1969 to study composition with Elliott Schwartz and establish their electronic music studio. He then went on to the University of California at San Diego where he studied composition with Pauline Oliveros and Roger Reynolds and received his MA in music. Since moving to New York in 1989 he has been working primarily with Pauline Oliveros. He is director of development for the Expanded Instrument System (a project of the Deep Listening Institute) and performs and records around the world with Oliveros and as a member of Deep Listening Band.
Urs Leimgruber has been active for many years in the areas of contemporary improvisation, composition, jazz and new music. One of his earliest associations was as a member of the electric jazz/free music group 'Om' with Christy Doran, Fredy Study and Bobbi Burri, and he later formed the 'Reflexionen' quartet with Don Friedman and Bobby Burri in New York. His own projects have included 'Ensemble Bleu', 'Xylem', e_a.sonata 02 with the ARTE saxophone quartet, as well as a long association with Fritz Hauser: as a duo with the ongoing Music for saxophone and percussion; in the Leimgruber/Roidinger/Hauser trio; a trio with Joëlle Léandre; and a trio with Marilyn Crispell. More recently he formed 'quartet noir' with Marilyn Crispell, Joëlle Léandre and Fritz Hauser and a trio with Jacques Demierre and Barre Phillips.
Things Heard Unheard
Brian Willson, percussion; Dominic Duval, bass; Yuko Fujiyama, piano and percussion
THINGS HEARD UNHEARD is the first recording by Brian Willson as a leader.
This recording is a combination of completely free improvisation-no guidelines
whatsoever other than listening-and composed pieces, nothing written, but discussion
of the nature of the work to be performed. Influenced by free jazz of the 60's,
world music, and contemporary, Willson fuses these elements into a diverse amalgam
of improvised music-some pieces are classic free piano, bass and drums, evidence
of the strong Cecil Taylor influence abounds, others are evocative of Eastern
culture utilizing sounds and instruments particular to Tibet, Japan and China,
evoking images of Buddhist ritual. Brian had played with Yuko and Dom individually
and they enjoyed a long friendship collectively, but this was the first musical
meeting of this trio of gifted musicians. The recording is a culmination of
years of performing for Brian Willson.
Yuko Fujiyama is a native of Sapporo, Japan, where she studied and majored
in classical music. In the mid-80's, upon being moved by the music of pianist
Cecil Taylor, she moved to the United States. In the early 90s, Yuko began performing
her original improvisational music, first in New York City, and then worldwide.
In addition to performing with a diverse range of musicians, including Ikue
Mori, William Parker, and the late Wilber Morris, she leads her own quartet,
two trios, and performs in duet with violinist Mark Feldman. "Re-Entry"
and "Song Cycle" are her latest available recordings, on the CIMP
and Boxholder labels, respectively.
Dominic Duval is one of the finest and most prolific bassists on the
contemporary scene, having played and recorded with some of the greatest names
in jazz and new music. Duval's continuing tenure with pianist Cecil Taylor's
trio has cemented his reputation as one of contemporary music's more important
figures. Duval is comfortable and can be seen performing in any number of genres,
including modern classical, jazz or music which defies classification .The bassist
has performed and recorded with such notables as saxophonists Joe McPhee, Ivo
Perelman, Glen Spearman, and Mark Whitecage, composer Pauline Oliveros, trombonist
Steve Swell, pianists Joseph Scianni and Michael Stevens, trumpeter Herb Robertson,
and drummers Paul Lytton and David S. Ware, among others. Duval leads and co-leads
a number of ensembles himself, including the critically-acclaimed C.T. String
Quartet, Trio X, "The Wedding Band", and the Dominic Duval String
Ensemble. Duval's solo bass CD, Night Bird Inventions, was a Top 10 pick in
the Coda Magazine critics poll, and his String Ensemble CD, State of the Art,
was chosen one of the year's best in the Jazziz Magazine poll. Mr. Duval can
be seen on tour through out the United States, Europe, Canada and Asia.
Listening
in Dreams; A Compendium of Sound Dreams, Meditations And Rituals for Deep Dreamers
Plus This is a Dream! A Handbook for Deep Dreamers
Listening in Dreams is a Journey through the fascinating world of sound related dreams. It contains a fine selection of dreams and ways of working with dreams that will be helpful to all those interested in phenomena of the night. This double edition also contains an updated version of the popular This is a Dream! A Handbook for Deep Dreamers. - by IONE
ZANANA - Holding Patterns
Zanana (za-NAH-nah) is an electro-acoustic chamber music duo featuring Kristin Norderval, (voice) and Monique Buzzarté (trombone) collaboratively composing and performing improvised music blending acoustic sounds, electronics and live processing. Zanana's inception dates from an all-night peace vigil concert in the fall of 2002 when Kristin invited Monique and poet Barbara Barg to join her for an evening of improvised music and spoken word. Since then Monique and Kristin have continued developing repertoire as a live processing duo, recording and performing in venues ranging from concert halls to clubs to abandoned buildings. Zanana uses improvisation as the foundation of their compositional process. While some works are free improvisations, some are structured improvisations and some are composed works with aleatoric elements, all are rooted in the expansive practices of Deep Listening. Zanana takes its name from a variant spelling of "zenana," the portion of a house in southwestern Asian countries exclusively dedicated to women.Holding Patterns is a compilation of live recordings selected from Zanana's first season of performances. Gasholder Duet is an improvised duo of unprocessed acoustic sounds recorded live inside the historic Gasholder Building in Troy, NY. Doorjam and Ghost Dog combine live processing of both the voice and trombone sampled in real-time with prerecorded soundfiles of ambient recordings made at the Gasholder Building and prerecorded and electronically processed voice soundfiles. Flags, Title X, and What a Pretty Dog were recorded live in concert in New York City. Poet Barbara Barg provides the text for Flags and joins the duo on spoken word on What a Pretty Dog in honor of Monique's dog Suki, who was accustomed to hearing this phrase regularly from strangers throughout her life.
Pauline Oliveros - Tara's Room - Two Meditations on Transition and Change
"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear MagazineThe two works on this cd - Tara's Room and The Beauty of Sorrow were composed and performed by Pauline Oliveros and recorded in May 1987. Previously only available as a cassette and long out of print, Deep Listening is proud to make these wonderful pieces available on cd.
Electrotherapy
"Electrotherapy is a collection of sound pieces based on studio recordings
of early 20th-century electrical devices, including induction coils, a diathermy
machine, an ultra violet ray oscillator, and a sectorless wimshurst machine.
These devices were recorded at close range, and form the basic source material
for all tracks on the CD. Thanks to Pete Barvoets, who kindly allowed me to
record the devices that are part of his private collection." - Scott
Smallwood
Recording
Field, H
"Recording Field, H" features several firsts: the first recording bringing together Pauline Oliveros and interface; the first video documentation of interface and their unusual instruments; the first video documentation of the sonic character pieces Streams and Pikapika; the first duo connecting shakuhachi and the bowed-sensor-speaker-array; finally, the first DVD released by Deep Listening Publications.
The odd-numbered tracks are electronic improvisations, created spontaneously
with custom-made instruments. The even-numbered tracks feature Tomie Hahn as
two radically contrasting sonic characters; in "Streams" each gesture
of the dreamlike apparition recalls bodies of water, technology, a flow of information,
transmission, and liquid states; as Pikapika, Tomie embodies a spunky character
influenced by anime, Japanese dance, and bunraku. In both pieces Tomie wears
a sensing device developed by Curtis Bahn. This interface enables Tomie to negotiate
full control of all aspects of the virtual soundscape structure with her movements.
Pauline Oliveros - accordion and Expanded Instrument
System (EIS)
Curtis Bahn - sensor bass
Tomie Hahn - interactive dance system and shakuhachi
Dan Trueman - sensor violin and bowed sensor/speaker array
New
Circle Five
DREAMING WIDE AWAKE
Monique Buzzarté, trombone; Rosi Hertlein, violin/voice; Susie Ibarra, percussion; Kristin Norderval, voice; Pauline Oliveros., accordion. "Spanning three generations, New Circle Five is an acoustic improvising contemporary music ensemble. Diverse musical backgrounds result in unique twists as the five explore the one-time only sonic environment of collective creative improvisations. On this, their debut recording, New Circle Five perform their unique blend of collective creative improvisations from dreams of a non-violent world."
Deep Listening Band / Joe McPhee Quartet
UNQUENCHABLE FIRE
"Joe McPhee's Unquenchable Fire, a work inspired by Rachel Pollack's
award-winning novel of the same title, was commissioned by The Deep Listening Institute for the Deep Listening Band and premiered at Lincoln Center Out-of-Doors.
The Deep Listening Band explores the sensual combination of musical sound
combined with natural sound, as well as the sounds of daily life and one's
own thoughts."
Evidence
OUT OF TOWN
NEW! Out of Town, the first full-length release by Evidence,
features five structured improvisations recorded on stage and in the studio.
Based on field recordings made during a road trip during the summer of 2002,
each composition explores the acoustic and timbral eccentricities specific
to each location. These are sculpted into a mix of rolling ambient planes,
textural sound puzzles, articulated noises, and polyrhythmic whirlwinds,
revealing and redesigning the microscopic intricacies and larger shapes
of the carefully recorded soundscapes.
Diana
Slattery
THE MAZE GAME
The Maze Game tells the story of a cult of mortal Death Dancers who, for 2000
years, have kept the immortal Lifers riveted with the brutal beauty of combat
in a maze made of the visual language, Glide. The Dancer is pitted against an
immortal Player, and, though the Dancer may win many times, the maze game always,
eventually, ends in the spectacle of the Dance of Death. Now, the survival of
the game itself is threatened. Dancemaster Wallenda and the four young Dancers
of the Millennium Class battle Joreen, the drug lord plotting to regain control
of the game. Wallenda is forced by Joreen to reveal the dark secrets of the maze
game¹s origin, at the risk of destroying his students¹ commitment to
Dance. But the greatest force undermining the game is love. The young Dancer Daedelus
must choose between the delicate T¹Ling, willing to die for love, and the
fiery MyrrhMyrrh, who would kill for it. The cyborg, Angle, struggles with the
longing to replace his human flesh and the knowledge that cold chrome repels the
warmth of human touch. As they train for and compete in the Millennium Games,
each Dancer confronts the shifting faces of love and idealism, and comes to terms
with the meaning of the maze game and the Dance of Death.
Item number SD-W-1; Novel $10.95
Neil
Rolnick
FISH LOVE THAT
With Todd Reynolds, violin; Andrew Sterman, woodwinds; Ron Horton, trumpet; Neil
Rolnick, keyboards; Steve Rust, bass; Dean Sharp, drums
The core of this project has been the idea of letting a way of working develop over time. FISH LOVE THAT came together for a concert in New York City every month between September 1996 and June 1998, first at the Knitting Factory, and then at HERE. Since then, we have played several times a year. To keep the focus on freshness and improvisation, we don't rehearse a lot. We get together for an hour or two before each concert, and generally go over new material, but only enough to know how it's put together. We don't actually try to rehearse a full performance. Instead, we try to keep the focus sharply on the performance itself, with the audience listening while we explore the musical ideas.
Although I wrote all the music for the first concerts, other players
started to bring in pieces for the band from very early on. Andrew Sterman,
Steve Rust and Todd Reynolds all jumped right into the heart of the concept,
putting together charts which challenge us to play freely and imaginatively
together, but which give us a structure and focus which keep the individual
pieces unique. When we're playing well, it seems to me that we find an
exciting musical landscape -- one with coherent melodies, driving meters
and harmonies, but with the ability to be transformed and shaped fluidly.
It's not jazz. It's not "free" improvisation, but neither is
it "composed music." It's somewhere in between.
Item number DL-CD-18; CD $16.00
Timeless
Pulse
George Marsh (percussion)
Pauline Oliveros (accordion)
David Wessel (computer realized sound)
Jennifer Wilsey (percussion)
Formed in 1993 in a residency at the Deep Listening Institute,
the musicians of Timeless Pulse make music together through listening
and responding in the moment. This CD is an unedited recording of a concert
at CNMAT on Sunday, March 10, 2002.
Item number DL-CD-21; CD $16.00
Norman
Lowrey
In Parallel: Dreaming into Alternate Universes for Singing Masks & Electronics
with text by Fred Alan Wolf
Recorded in performance at Ione's 5th Annual Dream Festival, Deep Listening
Space, Kingston, NY, October 14, 2000. Juxtaposing passages from theoretical
physicist Fred Alan Wolf's Parallel Universes (Simon & Schuster,
1988) with recordings made over the years of a wide variety of things
ranging from frogs in New Mexico to the soundscape at the corner of 46th
and Broadway in NYC, In Parallel is a ceremony guided by the
Singing Masks which invites the participants to use sound triggers to
dream into alternate universes.
Norman
Lowrey
DreamWeaving A Singing Mask Ceremony
Recorded in performance at Ione's Sixth Annual Dream Festival,
Deep Listening Space, Kingston, NY, October 6, 2001. The accompanying
soundscape for DreamWeaving consists of recordings of over
50 dreams submitted to Ione's Dream Festival Dream Sack and to the Deep Listening Institute Deep Listening listserv, together with recordings
made of birds in a woods in western New York state. The audience was
invited to contribute dreams at any time during the live presentation.
The Singing masks sound along with this tapestry of communal dreaming,
guiding and translating the dreamscape into their language of ceremonial
dreamtime.
Norman
Lowrey
RiverSoundMind for Singing Masks & Electronics
on a Poem by Pauline Oliveros
Recorded live in concert, F.M. Kirby Shakespeare Theater,
Drew University, Madison, NJ , April 23, 2001. The accompanying soundscape
here consists of recordings made a various sites on the Delaware River
together with a transformed sounding of Pauline Oliveros' poem Humayun's
Tomb, which is about the mind of sound. The text was processed using
granular synthesis and "folded" into river sounds to make a
somewhat human-sounding voice seem like another of the river's many complex
voices. Various masks function as guides along this sonic journey into
the intelligence of River and Sound itself.
Scott Smallwood:
Desert Winds - Six Windblown Sound Pieces and Other Works
Desert Winds is a series of six compositions based on the field recordings made
in the Wendover/Great Salt Lake Desert Region on the Utah/Nevada border. As a
sound artist who utilizes field recordings, I initially was concerned about the
high desert winds causing technical difficulties for me. However, I soon discovered
that the desert wind was one of the most interesting assets to me in my quest
for finding interesting objects/sites to record. The sounds recorded were all
produced by the wind.
Automatic Inscriptions of Speech Melody
Item Number DL-CD-16; Compact disc
$16.00
Springs
with Pauline Oliveros and Andrew Deutsch
Duos and solos by Pauline Oliveros
(accordion) and Andrew Deutsch (electronics, modified television, bells) remixed
by Andrew bearing in the mind this quote from Pauline's Software
for People
"Unity through variety - variety through unity. Elements: Similarity of the sounds (unity), the transient swirling of leaves, the static nature of the foundation (variety).... How can unity dominate without destroying variety and vice versa? How can the two principles illuminate each other?....."This CD in a limited edition of 400 with individual tray bottom inserts including hand made and collaged elements. Produced by Deep Listening in cooperation with the Institute for Electronic Arts.
STRAYLIGHT
Straylight is an ambient, avant world trio featuring Jason Finkelman (berimbau, percussion), Geoff Gersh (guitar) and Charles Cohen (Buchla Music Easel). Dedicated to the art of improvised music, Straylight's members have been performing concerts and theater works since 1993. Their Knitting Factory concert series Straylight Dialogues explored the languages of improvised music with many artists across the genre including Pauline Oliveros, Joe McPhee, Brian Ritchie, J.D. Parran, Burton Greene, DJ Olive, and Bradford Reed. They received a New York Dance and Performance Award, a Bessie, for composing the music for Cynthia Oliver's SheMad (2000). Their debut release, Straylight, on the Deep Listening label features a live concert recorded at the Knitting Factory.
River
Sounding Trilogy + by Norman Lowrey
Five limited edition CDs documenting the Singing Mask ceremonial/performance work
by Norman Lowrey created from
the Delaware River Sounding
Project. 1. riverdream through us A Listening Ceremony in Seven Dreamings Singing/Listening Masks, River Sounds & Listener/Celebrants, with Pauline Oliveros and Tom Bickley. Presented and recorded live at Ione's Dream Festival, October 25, 1997.
2.
Spirit Dreams:Stories of the Singing Masks for Singing Masks, Narrator,
River Sounds, Electronics & Dreaming Audience, with Ione, Narrating. Presented
and recorded live at Ione's Dream Festival, October 25, 1997.
3.
Spirit Talk: Conversations with the Singing Masks for Singing Masks,
Nature Sounds & Glossolalia. Version 1 Accompanying Soundscape and in performance
live at EarthSounding, St. Stephen & the Incarnation, Washington, D.C., April,
1998, with Tom Bickley.
4.
River Sounding Works: OIR al RIO (to Listen to the River), from Scripture
of the Lotus Blossom of the Fine Dharma, A Vision of the Primordial Delaware
(with Pauline Oliveros on Accordion).
5.
ReVoicings for Singing Masks, Voice, Nature Sounds & Electronics
by Norman Lowrey and Robert Carnevale. Spirit Talk: Conversations with the
Singing Masks. Presented and recorded live at Deep Listening Space Community
Café, November 12, 1999.
Carrier with Pauline Oliveros, Andrew Deutsch and Peer Bode
Includes Lucy's Violin performed and composed by Andrew Deutsch with processing by Pauline Oliveros, Pigeon performed, composed and processed by Pauline Oliveros, and Carrierby Peer Bode (voice and vocoder), Andrew Deutsch (electronics) and Pauline Oliveros (accordion).
Pauline Oliveros' Ghostdance
The long awaited soundtrack of the Ghostdance music and dance collaboration between Oliveros and Paula Josa-Jones, commissioned by Lincoln Center Out-of -Doors.
Joe McPhee's Common Threads
The Joe McPhee Quintet recorded live on October 19, 1995, at The Tractor in Seattle. This phenomenal seventh night performance at the Earshot Jazz Festival garnered the quintet BEST CONCERT in the Earshot Golden Ear Awards. The CD features Joe McPhee, sax and pocket trumpet; Stuart Dempster, trombone; Loren Dempster, cello; Michael Bisio, bass; and Eyvind Kang, violin. Spirit Traveler , which is the longest cut, is a tribute to McPhee's long time inspiration, Don Cherry, who, coincidentally died on the day of the concert.
Dana Reason's Primal Identity
Dana Reason's superb sample of the best of trans-cultural music. The Deep Listening CD features Dana Reason on piano. Philip Gelb joins Reason on shakuhachi for several cuts. Reason's music is improvisational, but well-articulated in form, a melding of sound and story, an intensely personal journey guided by Afrological forms.
Nega Gato's Baiano in New York
Nego Gato, a native of Salvador, Bahia, in Brazil, grew up immersed in the sounds of the Candomble religion, street music and Carnival. His compositions are the blend of traditional rhythms of the frum cults, chants to the Orixa and current styles of popular music. This music is VIBRANT with life and emotion, a sure fix for the winter blues. Features Nego on berimbau, vocals and percussion with excellent back up from his band.
R.I.P. Hayman's On The Way...
How does death sound? Do our senses survive our passing? Is there a celestial sound in the beyond? Music by R.I.P. Hayman for the installation of the Near-Death Experience. New release/re-issue of cassette on the Deep Listening Label.
Joel Chadabe's After Some Songs
New release/re-issue of 1988 recording by Intelligent Music in which Chadabe uses the screen controls of Intelligent Music's M (running on a Macintosh computer) with sounds produced by four Yamaha TX-7 synthesizers. After Some Songs refers to six of the pieces in the recording which are compositions inspired by jazz classics: Echoes of Brazil (after Corcovado ), Elusive Lady, (after Stella By Starlight ), Valentine (after My Funny Valentine<), Many Mornings, Many Moods (after In A Sentimental Mood) You (after There'll Never Be Another You ), and Spring (after It Might As Well Be Spring ). Performers include Chadabe on electronics and Jan Williams on percussion, with Bruno Spoerr, saxophone, and Reto Weber on udu drum. Other pieces include A Touch of Africa and Another Approach to Rhythms . Wonderfully buoyant performances!
