geboren am 1. Februar 1945 in dem deutschen Städtchen Falkenhagen. Lernte als Junge autodidaktisch Flöte und Gitarre, arbeitete zunächst als Grafik-Designer und Journalist in München. Ein fast tödlicher Autounfall und Einflüsse aus dem Sufismus brachten ihn zu einem neuen tieferen Musikverständnis. Seine seit Anfang der 70er Jahre veröffentlichten Platten verbinden Natur (eigene Naturaufnahmen), Herz (berührende Flöten und Gitarrenmelodien) und Stille (Synthesizer-Space, Form und Atmosphäre der Stücke). Im Ashram von Bhagwan Shree Rajneesh komponierte Deuter zwischen 1974 und 1980 die Musik zu verschiedenen Meditationen, die seitdem weltweit im therapeutisch-medizinischen Bereich eingesetzt werden. Inspiriert von indischer, chinesischer oder indianischer Musik und doch bis heute, nach 30 Jahren, immer unverkennbar Deuter: „Bleibt die Musik nur im Bereich des Verstandes oder des Künstleregos, kann sie nicht wirklich tief gehen. Doch wird das gesamte Universum hineingelassen, dann werden die Menschen im Innersten berührt, emporgehoben.“

Deuter, one of the first artists on the Kuckuck label, has thirteen titles on Kuckuck, as well as the musical score of a picturepoem released on the MonteVideo label. They offer his unique uplifting melodies played on flute, guitar and synthesizer, blended with the sounds of nature. His creations incorporate a lightness of spirit, depth of vision, and a musical medley of East and West.

Deuter himself is a product of both East and West. He was born in 1945, in a small village of post-war Germany. As a child, he learned flute and taught himself guitar and harmonica. As a young adult, he worked as a graphic designer and newspaper columnist in Munich, but the musical drive within him persisted. Eckart Rahn, a young record producer at that time, recognized Deuter’s talents, and in 1971 released Deuter’s first recording, D (11009-2), on the then fledgling Kuckuck label.

Deuter began to go into the mountains to record birds, water and wind to accompany his music. He was one of the first artists to do so and his deep relationship with nature persists to this day. He also began his spiritual search, spending much of his time at an ashram in Poona, India. Deuter was also one of the first artists to blend that Eastern influence into his music. He did that blending in such a gentle fashion that it never jarred Western ears, unaccustomed to Eastern rhythms and tonalities.

Aum (11017-2) and Celebration (11040-2) were his first recordings to spring from this new direction in his life. His 1978 release, Haleakala (11042-2), was recorded in Poona. This release was a true portrait of Deuter’s spiritual quest as well as production talents. Using a four-track tape machine and a progression of sub-mixes down to two tracks, Deuter was able to blend his own performances of two flutes, two guitars, organ synthesizer, and bells percussion along with natural sounds. This sixteen-track requirement he accomplished in the middle of India on just four tracks with an amazing technical fidelity.

Future releases only perfected the recording quality of Deuter’s magical music. In his own words, that music takes us to the "beautiful place inside where the listener can experience warmth, the playfulness, the love, the compassion, the gentleness. That is the music I want to make for others." And that is just what he has done.

Cicada (11056-2) and Nirvana Road (11068-2) showcase Deuter's remarkable ability to produce music that is "more and more danceful, lighter, happier and more playful, full of heart and still have in it somewhere a vision of silence." Call of the Unknown: Selected Pieces 1972-1986 (12076-2), contains a compilation of the most sublime pieces of Deuter's repertoire. Land of Enchantment (11081-2) is Deuter's biggest selling album.

Together, these releases represent the first 21 years of Deuter's exceptional music, a spectrum of radiant outpourings and quiet meditations.