released October 7, 2018
Produced by Ellen Fullman & Theresa Wong
Recorded February 2009 at the Headlands Center for the Arts
Recording Engineer: The Norman Conquest
Mixed by Ellen Fullman and Thomas Dimuzio, Gench Studio
Mastered by George Horn and Anne-Marie Suenram at Fantasy Studios
Cover art & design: Theresa Wong
Special thanks to: Gisela Gamper, Christopher Gamper and the Headlands Center for the Arts
Ellen Fullman, long string instrument
David Gamper, natural flutes, bells, conch, melodica and electronics
Stuart Dempster, didjeridu and trombone
© 2018 Ellen Fullman (BMI) and David Gamper (ASCAP) except Tidepool and Ribbon Chert © 2018 Ellen Fullman (BMI) and Stuart Dempster (ASCAP)
Through an accidental discovery in 1980 of the longitudinal mode of vibration, Ellen Fullman invented the Long String Instrument, which has remained at the core of her creative life. The process of refining and articulating this instrument has led her to experimenting with wire alloys and gauges; designing wooden resonator boxes and bronze tuning capos; creating a graphic notation form that defines time by distance walked, the study of natural tuning, and North Indian vocal music, among many other things. Her work has been cited by Alvin Lucier in Music 109: Notes on Experimental Music, and by David Byrne in How Music Works. She has been the recipient of numerous awards, commissions and residencies including: Foundation for Contemporary Arts Grants to Artists (2015); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and DAAD Artists-in-Berlin residency (2000).
Sonic artist David Gamper (1945-2011) moved freely among the worlds of composition, improvisation and electronic instrument design and construction. He believed electronic sound processing technologies constituted an extension of the acoustic musical instrument. Unlike more single-minded proponents of musical technology, Gamper’s music was a marriage of traditional instrumental performance with the sound transformations introduced by new and emerging technologies. He named his performance technology “The Sound Shifter” and with it he captured the live sounds of his instruments (piano, winds, and others) and electronically shifted them into other musical realms. As a member of Deep Listening Band, Gamper developed a major redesign of the Expanded Instrument System (EIS). Gamper was also half of See Hear Now, (with photographer Gisela Gamper) a visible music sound and video projection duo.
Stuart Dempster, sound gatherer, trombonist, composer, didjeriduist and professor emeritus at the University of Washington, was a founding member of Deep Listening Band. Dempster has recorded for numerous labels including Important, Taiga, and New Albion. Releases include “In the Great Abbey of Clement VI" at Avignon—a "cult classic"—and “Underground Overlays from the Cistern Chapel” consisting of music sources for a 1995 Merce Cunningham Dance Company commission. Grants include being a senior Fulbright scholar to Australia in 1973 to study didjeridu, and a Guggenheim Fellow in 1981 where he developed his “Sound Massage Parlor.” He commissioned Sequenza V (1966), an early installment in Luciano Berio's series of Sequenzae that codified new standards of virtuosity for solo instrumentalists. His landmark book, The Modern Trombone: A Definition of Its Idioms was published by the University of California Press in 1979 (reprint edition, Accura Music, 1994).