Phil Dadson was born in New Zealand and now lives there in Aukland. He was a member of the foundating group for the Scratch Orchestra in London with Corneluis Cardew, Michael Parsons and others. In 1970, he founded the New Zealand Scratch Orchestra and later founded From Scratch.
Pauline Oliveros, accordion, electronics
Stuart Dempster, trombone, didjeridu
Panaiotis (1988-1990), vocals, electronics
David Gamper, keyboards, electronics
The Deep Listening Band was founded in 1988 by Pauline Oliveros, Stuart Dempster, and Panaiotis. David Gamper replaced Panaiotis in 1990.
The band is named after Oliveros' term, concept, program and registered servicemark of the Deep Listening Institute, Ltd., ''Deep Listening®'', and specializes in performing and recording in resonant or reverberant spaces such as cathedrals and huge underground cisterns including the two-million gallon Fort Worden Cistern, which has a 45 second reverberation time.
They have collaborated with Ellen Fullman and her Long String Instrument on "Suspended Music" released by Periplum Records; the Joe McPhee Quartet on "Unquenchable Fire" released by Deep Listening. They have also performed, recorded, and released a trope on John Cage's 4'33". "Non Stop Flight" released by Music&Arts is a 70 minute excerpt from the 4 hours and 33' trope.
Stuart Dempster, Sound Gatherer - composer/performer/author; University of Washington Professor Emeritus; various fellowships and grants including Fulbright and Guggenheim; numerous recordings including New Albion’s "Abbey", "Cistern Chapel"; landmark book “The Modern Trombone: A Definition of Its Idioms” published 1979; Merce Cunningham Dance Company commission in 1995. Besides Cathedral Band performances, he is founding member of Deep Listening Band. Dempster soothes aches, pains, and psychic sores with his meditative and playful “Sound Massage Parlor”; “Golden Ears Deep Listening Certificate” awarded in 2006.
Lauri des Marais's compositions are primarily synthesized stream between shape, mood, and pattern-texture construction; this she refers to as Classical Technology, which create Stories in SoundTM. Des Marais began playing piano in 1994. For live performance, she developed a form of movement she calls Movement So Still With Sound, which incorporates themes of traditional eastern movement, to translate the often subtle dimensional qualities of her music. She has studied the practice of Deep ListeningTM with Pauline Oliveros, Composer. Her repertoire includes a performance with Pauline Oliveros at Plan B Evolving Arts, in celebration of Deep Listening, and at the 1999 premier of the Big Sur Experimental Music Festival, hosted by the Henry Miller Library.
Andrew Deutsch (b.1968) is a sound, video and graphic artist who lives in Hornell, NY and teaches Sound & Video Art in the Division of Expanded Media at Alfred University. He received his BFA in Video Art and Printmaking from Alfred University in 1990 and his MFA in Integrated Electronic Art from Rensselaer Polytechnic Institute in 1994. He is a member of the Institute for Electronic Art at Alfred University and the Deep Listening Institute Board of Advisors and is a former member of the Deep Listening Institute Board of Directors (1999 - 2001).
Since 1998 Deutsch has released over 14 CDRs of solo electronic music on his Magic If Recordings a label founded in part to keep in touch with the larger landscape of experimental music and to maintain consistent networking within that community by developing relationships with other composers through an exchange of works. Magic If is the primary vehicle for Deutsch¹s musical ideas with releases being developed and distributed in a very swift yet clearly considered manner. The pace at which the releases occur allows his work to inhabit contemporary culture in a way that is more productive and of lower cost than the traditional structures currently in place for the publication of sound works. Each Magic If edition showcases his experimental music and graphic art and is distributed exclusively in the United States by Anomalous Records. There have been 14 Magic If releases in since 1998 each being released in an edition of between 20 and 450 copies.
In 1998 Deutsch formed Carrier Band with Peer Bode and Pauline Oliveros producing the recordings Carrier and Automatic Inscription of Speech Melody and has since collaborated with Pauline Oliveros on many other projects over the past 8 years.
Deutsch is also a regular collaborator with Peer Bode and Jessie Shefrin on both sound and video projects and most recently Deutsch has collaborated with Stephen Vitiello and Tetsu Inoue on the CD Humming Bird Feed ver.02 and with Tetsu Inoue on the Cds Field Tracker and Object and Organic Code. In addition to these collaborations, his recording The First Line (Sounds for Drawing) a collaboration with Ann Hamilton, was recently exhibited at the Whitney Museum of American Art as part of the exhibition Bitsreams. This work and has also been exhibited in installation form at the Burchfield - Penny Art Center in Buffalo, New York, and at the Cornish School in Seattle,Washington. Further, an additional sixty minutes of The First Line are to be released soon by the Institute for Electronic Arts. Deutsch has released other CDs through Deep Listening Publications, Lucky Kitchen, Anomalous Records, Commune Disc (forthcoming), Elevator Bath (forthcoming) and JdK publications.
Additionally, since 1994 Deutsch has produced over 26 recordings of experimental video many of which have been exhibited both nationally and internationally and he has participated regularly in the Artists Residency program at the Experimental Television Center in Owego New York. Approaching video from a position of experimentation, he has developed his own real time raster scan processing system based on a similar design by Nam June Paik. Deutsch used in this system in his 1996 recording Magnetic North, produced in part while he was a workshop instructor and facilities consultant at the Tariagsuk Video Center, Igloolik, Canada and in his collaborative piece Empty Words 4 with John Cage and Yvar Mikshoff which has been accepted into the limited archives of the John Cage Trust. His most recent video project Eye Piece, which incorporates hand rendered 16 mm film components, was exhibited at the 9th Biennial of the Moving Image, Center pour L'image, Contemporaine Saint - Gervais, Geneva. Deutsch is the recipient of an Artists Fellowship - in Video Art (1997) from the New York Foundation for the Arts and a Special Opportunity Stipend from the New York Foundation for the Arts (1999), and you can hear remixes of Deutsch¹s CD Garden Music on Oval¹s OvalProcess, and Microstoria¹s Improvisers.
"In my life as a musician, which began with my first flute lesson in 1958, I have evolved a sort of "unified field" approach that embraces composing, improvising and concepts of the flute itself. The touchstone of this philosophy is that any musical vision I might have can be realized through the medium of the flute - and I have invented countless sounds in pursuit of this. = As a late 20th century creative artist who developed in the United States, it is not surprising that my music has many taproots: world musics, electric and electronic musics, natural sonic phenomena, other creative musicians. The ethos of transformation is in my bones. The creation of my pieces begins with emotional decisions, then sonic choices - and invention when necessary - are made. Musical architecture is developed and refined through improvisation and "sit -down" through-composition. = With the exception of A BLACK LAKE WITH A BLUE BOAT ON IT, all the music on this disc is acoustic. In the duo with Neil B. Rolnick, unification of the acoustic and electronic worlds is sought by using the flute as the sole sound source. Five samples and live processing are used along with the live flute and Ab piccolo."
Fusing the disciplines of bioacoustics, linguistics, chaos theory, deep ecology, computer technology and musical composition, Santa Fe resident David Dunn has spent the last fifteen years exploring the relationships between music, environmental sound and language. He brings to this endeavor a broad background: violinist (contemporary and early music), electronic designer (San Diego State University electronic music studio, Ars Electronics Exhibit), music theorist (assistant to Harry Partch), and composer.
