deep listening

Carrier Band Automatic Inscription of Speech Melody (DL 16-2000)

"The Carrier Band was formed in 1998 when Pauline Oliveros, Peer Bode and Andrew Deutsch performed 3 improvisations at Alfred University. The title piece is a trio improvisation based on quotes written in the technical notebooks (1934-1949) of pioneering electronic instrument developer Harald Bode. The piece weaves words and phrases excerpted from the notebooks spoken and vocoded by Peer Bode through the Bode Vocoder. The vocoder transfers speech onto pitched sounds and the VOICE releases the CARRIER sounds. These texts, along with Pauline's electronic sounds created on her Difference Box were mixed with loops and excerpts of Harald Bode's demo tapes and synthesized sounds constructed by Deutsch. The LFO drone heard at the beginning was Pauline's entrance into the piece. 'Earth Orbit' is a quartet improvisation which Dick described as being 'the most fun he's ever had performing' loops and text from Harald Bode's notebooks were once again used along with data sets generated by Deutsch."

Deep Listening Band Tosca Salad (DL 3-1995)

A tasty variety of free improvisations excerpted from recordings of Deep Listening Band rehearsals and of the Band in concert. Band members Pauline Oliveros, Stuart Dempster and David Gamper are featured exploiting the sonoric and spatial palette of the Expanded Instrument System. Performers Julie Lyon Rose, Fritz Hauser, Urs Leimgruber, Ben Neill, Joe McPhee, Joe Giardullo, Ellen Fullman, Nigel Jacobs and Elise Gould appear as guest artists. A wonderful chronological acoustic essay of the Band's work over the last two years. (1995)

Deep Listening Band/Joe Mcphee Quartet Unquenchable Fire (DL 19-2003)

"Joe McPhee's Unquenchable Fire, a work inspired by Rachel Pollack's award-winning novel of the same title, was commissioned by The Pauline Oliveros Foundation 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 (DL 23-2003)

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.

Fritz Hauser Deep Time (DL 32-2005) 2 CDs

Pauline Oliveros, accordion & Expanded Instrument System; David Gamper, Expanded Instrument System electronics, misc. small instruments; Urs Leimgruber, soprano & tenor saxophones; Fritz Hauser, percussion

Deep Time is a tape composition commissioned in 1991 by the Pauline Oliveros Foundation for Deep Listening Band. It 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, who 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.

R.I.P. Hayman On The Way... (DL 2-1995)

How does death sound? Do our senses survive our passing? Is there a celestial sound in the beyond? Music by Hayman for the installation of the Near Death Experience. New release/re-issue of cassette on the Deep Listening label.

Interface Recording Field H (DL 27-2004) DVD

"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.

Nego Gato Baiano in New York (DL 5-1996)

Nego Gato, a native of Salvador, Bahia, in Brazil, grew up immersed in the sounds of the Condomble religion, street music and Carnival. His compositions are the blend of traditional rhythms of the drum cults, chants to the ORIXA and current styles of popular music.

New Circle Five Dreaming Wide Awake (DL 20-2003)

"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."

Monique Buzzarté, trombone; Rosi Hertlein, violin/voice; Susie Ibarra, percussion; Kristin Norderval, voice; Pauline Oliveros., accordion.

Pauline Oliveros Ghostdance (DL 7-1998)

The long awaited soundtrack of the Ghostdance music-and-dance collaboration between Oliveros and Paula Josa-Jones, commissioned by Lincoln Center Out-of-Doors.

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.

Pauline Oliveros Primordial Lift (DL 33-2006)

"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.

Pauline Oliveros Tara’s Room (DL 24-2004)

"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 Magazine

Dana Reason Primal Identity (DL 6-1996)

Primal Identity is a superb sample of the best of trans-cultural music. It features Dana Reason on piano, with Philip Gelb 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.

Neil B. Rolnick’s Fish Love That (DL 18-2002)

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.

Scott Smallwood Desert Winds: 6 Windblown Sound Pieces and Other Works (DL 17-2002)

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.

Scott Smallwood Electrotherapy (DL 29-2004)

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.

Straylight (DL 15-2000)

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).

Timeless Pulse Live At Cnmat (DL 21-2002)

Formed in 1993 in a residency at the Pauline Oliveros Foundation, 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.

George Marsh, percussion; Pauline Oliveros, accordion; David Wessel, computer realized sound; Jennifer Wilsey, percussion.

Brian Willson Things Heard Unheard (DL-31-2005)

Brian Willson, percussion; Dominic Duval, bass; Yuko Fujiyama, piano and percussion

This, the first recording by Brian Willson as a leader, is a combination of completely free improvisation—no guidelines whatsoever other than listening—and composed pieces—nothing written, but the nature of the work to be performed is discussed. Influenced by free jazz of the '60s, 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.

Yuko Fujiyama is a native of Sapporo, Japan, where she studied classical music. In the mid-'80s, 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.

Zanana Holding Patterns (DL 30-2005)

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 insidethe historic Gasholder Building in Troy, New York. Doorjam and Ghost Dog combine live processing of both the voice and trombone samples in realtime with prerecorded sound files. 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 or Monique's dog Suki, who was accustomed to hearing this phrase regularly from strangers throughout her life.

The Deep Listening Catalog is curated by Pauline Oliveros, an internationally acclaimed composer, performer, author and lecturer. Oliveros has worked at the forefront of new music composition since the fifties and today is considered one of the world's most distinguished experimental composers.

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