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.
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
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.
"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.