recording:
Woodstock: Chris Andersen, Nevessa Production, May 17th 2011
New York: Leon Dorsey, Leon Lee Dorsey Studio, May 22nd 2011
Chicago: Andrew Hernandez, Soma Studio, May 31st & June 1st 2011
Los Angeles: Wayne Peet, Killzone Music-Newzone, June 6th 2011
Editing: Didier Petit
Mastering: Jean-Pierre Bouquet, L’autre Studio, Vaires-sur-Marne, France
Liner notes: Yves Citton
Photos: Michel Dorbon, Rob Mazurek, APDP
Cover design: Max Schoendorff
Cover realization: David Bourguignon, URDLA
Producer: Michel Dorbon

muzycy:
Didier Petit: cello, voice
Alexandre Pierrepont: poetic serial, voice
with,

in Woodstock
Marilyn Crispell: piano

in New York
Andrea Parkins: electornic accordion & effects, laptop electronics, amplified objects
Gerald Cleaver: drums, percussion
Matt Bauder: tenor saxophone
Joe Morris: guitar

in Chicago
Jim Baker: analog synthesizer
Nicole Mitchell: flute
Hal Rammel: amplified pallet
Hamid Drake: tar
Michael Zerang: darabukka

in Los Angeles
François Houle: clarinet
Michael Dessen: trombone
Larry Ochs: tenor saxophone
Kamau Daáood: voice

opis:
excerpt from the liner notes
Lawrence Butch Morris developed the concept of “conduction” to account for a mode of Instant Composition based on the creative freedom of the players stimulated by the gestures of a central conductor. AP/DP, with this cd, invent the practice of musical transduction. Just like the French language is not “translated” but transducted into Kamau Daáood’s unique prosody, DP’s cello does not “translate” the playing of a thumb piano, an oud or a kora: all of these instruments, all of their phrasings electrify his playing from the inside, they are transducted into the cello. Similarly, DP’s vocal cords do not “translate” what his fingers perform on the strings: both are electrified by a common current, alternating and direct. The astonishing fluidity of this complex meshwork of influences qualifies AP/DP as “Super-transductors”: through this cd, one hears not only a whole family of giant cello players (Abdul Wadud, Robert Een, Tom Cora, Ernst Reijseger, Peggy Lee, Hank Roberts), but also a long history of lyrical surrealism (from Lautréamont to Henri Michaux), and the widest range of traditions in ethnomusicology (from Africa to the Middle East, through classical Europe and Amerindian singing)…
…Be prepared to be transducted, transformed and elated.
by Yves Citton

opis:
excerpt from the liner notes
Lawrence Butch Morris developed the concept of “conduction” to account for a mode of Instant Composition based on the creative freedom of the players stimulated by the gestures of a central conductor. AP/DP, with this cd, invent the practice of musical transduction. Just like the French language is not “translated” but transducted into Kamau Daáood’s unique prosody, DP’s cello does not “translate” the playing of a thumb piano, an oud or a kora: all of these instruments, all of their phrasings electrify his playing from the inside, they are transducted into the cello. Similarly, DP’s vocal cords do not “translate” what his fingers perform on the strings: both are electrified by a common current, alternating and direct. The astonishing fluidity of this complex meshwork of influences qualifies AP/DP as “Super-transductors”: through this cd, one hears not only a whole family of giant cello players (Abdul Wadud, Robert Een, Tom Cora, Ernst Reijseger, Peggy Lee, Hank Roberts), but also a long history of lyrical surrealism (from Lautréamont to Henri Michaux), and the widest range of traditions in ethnomusicology (from Africa to the Middle East, through classical Europe and Amerindian singing)…
…Be prepared to be transducted, transformed and elated.
by Yves Citton