Kendra Steiner Editions

August 21, 2017

KSE MUSIC AND POETRY RELEASES FOR FALL/WINTER 2017 (updated 6 Nov. 2017)

Filed under: Uncategorized — kendrasteinereditions @ 1:40 pm

ALFRED SHANGHAI COVER

NEW AND RECENT KSE RELEASES, AVAILABLE FOR ORDER

UPDATED  6 November  2017

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

THE FIRST OF THE FALL/WINTER 2017 releases are ready for immediate shipment:

KSE #390 (CDR), MATT KREFTING, “Microchips”

KSE #385 (CDR), TOM CREAN, “3 Heads Tame”

KSE #379 (CDR), SHANGHAI QUINTET (featuring Alfred 23 Harth), “ShangShan/Stone Age Music” (Harth and young Chinese musicians, recorded live in Shanghai, China, October 2016)

FIVE NEW ALBUMS IN JULY-AUGUST 2017….

KSE #371 (CDR), SAMUEL DUNSCOMBE & TIM OLIVE, “Zanshi”

KSE #377 (CDR) JOHN BELL (new for July 2017), ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

KSE #373 (CDR), DANE ROUSAY, “Anatomize” (new for July 2017), solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” (new for July 2017)… one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

———————————————————————————————————————————

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

——————————————————————————————————————————-

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #386 (poetry chapbook), BILL SHUTE, “Trimmings”

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities”

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals”

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown”

KSE #376 (poetry chapbook), BILL SHUTE “New Jerusalem”

KSE #372 (poetry chapbook), BILL SHUTE, “Guest Register”

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

Thanks for your support of KSE (now in our 12th year of operation, with over 360 releases in that time!) and all other independent, non-aligned arts organizations.

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October 31, 2017

new album “3 Heads Tame” from guitarist TOM CREAN (KSE #385)

Filed under: Uncategorized — kendrasteinereditions @ 6:40 pm

TOM CREAN, “3 Heads Tame” (KSE #385), CDR album

7 String Guitar, Classical Guitar, Classical Banjo, Bass, Production, and Engineering – Tom Crean

Compositions by Tom Crean with contributions by Matt Robidoux and Ernesto Brute

tom crean 2017 3 heads

KSE is happy to present our fourth album from Western Massachusetts guitar/banjo innovator  TOM CREAN. His first album, WIRED LOVE, featured solo guitar and banjo; his second was a duo album with electronic musician Mike Barrett (aka Belltonesuicide); his third was a duo album with fellow stringed-instrument player Matt Robidoux (which is still available!); and now comes his fourth, 3 HEADS TAME, a solo album quite different from any of the others.

As someone who grew up listening to albums by guitar experimentalists such as Derek Bailey, Fred Frith, Sonny Sharrock, Jean-Francois Pauvros, Hans Reichel and many others, I have wanted KSE to get behind today’s creative guitarists (and banjo players and bajo sexto players, etc.) and give them an outlet to explore new territory and create new works without worry of commercial concerns or marketing. We’ve issued dozens of albums featuring guitars behaving non-traditionally, but in particular we’ve given an annual platform to Ernesto Diaz-Infante out on the west coast (in the SF Bay area) and Tom Crean on the east coast (in Western Massachusetts). Tom has put a lot of time and thought each year into the concept and execution of these albums, and they’ve been very well received by our listeners, underground radio, music bloggers, etc. When I asked him about the genesis of this new album, he stated,

“Half of the compositions on this recording are inspired by various unidentified “Transcriptions” compositions. “Transcriptions” are the appropriation of non-art musics and scoring for experimental music ensemble. The “Transcriptions Manifesto” was recently released, this document describes the process of writing “Transcriptions” with the open invitation and intent that others will score “Transcriptions” as part of the Transcriptions Project as a whole. Besides these fragments of “Transcriptions,” the rest of the performances of my works are improvised. Ernesto Brute’s piece is a graphic score and Matt Robidoux’s piece is from one of the rock bands he played in called Pony Bones, which put out a tape 3 years ago and lent itself well to a classical guitar arrangement. Almost all takes were done the first time. There is no multi-tracking (except the last track.) All the electric instruments were recorded straight into the computer from a multi-effects processor (I’ve found this more effective especially with 7 string guitar.) The other pieces were recorded in a spacious room at home.”

3 HEADS TAME is not an easy album to categorize–it tends to be understated, and though I’ve listened to it a dozen or more times as I’ve been getting the release ready, it has an inscrutable quality to it, a quality that compels you to listen again and investigate further. I’ve been re-reading the late-period poems of W. S. Merwin recently, and they seem to have a similar quality. Neither can be unraveled easily, and neither depends on some facile “concept” or faux-avantgarde game-playing.

Another snapshot taken on the fascinating musical journey of Tom Crean. And while  you are at it, why not also pick up his earlier duo album with Matt Robidoux, and album I’ve been playing regularly for the last year and which still challenges me.

KSE #385 (CDR), TOM CREAN, “3 Heads Tame”

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

NOTE: you can STILL get Tom Crean’s previous KSE album, a duo with Matt Robidoux, 

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

also available, FOUR albums from Alfred 23 Harth:

KSE #379 (CDR), SHANGHAI QUINTET (featuring Alfred 23 Harth), “ShangShan/Stone Age Music” (Harth and young Chinese musicians, recorded live in Shanghai, China, October 2016)

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

and also….

KSE #371 (CDR), SAMUEL DUNSCOMBE & TIM OLIVE, “Zanshi”

KSE #377 (CDR) JOHN BELL , ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

KSE #373 (CDR), DANE ROUSAY, “Anatomize” , solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” … one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

Thanks for your support over the years….stay tuned for the rest of our Fall/Winter 2017 releases, from MATT KREFTING, LISA CAMERON/ROBERT HORTON, MORE EAZE, and ERNESTO DIAZ-INFANTE….

October 22, 2017

SHANGHAI QUINTET (with Alfred 23 Harth), “ShangShan/Stone Age Music” (KSE #379), new album now available!

Filed under: Uncategorized — kendrasteinereditions @ 7:49 pm

Shanghai Quintet (with Alfred 23 Harth)

ShangShan/Stone Age Music

Live at Power Station of Art/Shanghai, October 2016

 Part I  –  31:40        . Part II – 11:01

composed by Shanghai Quintet

Alfred 23 Harth: reeds, samples

Jun-Y Ciao: reeds         MaiMai: guitar

Xu Cheng: electronics, metal percussion                 Tao Yi: drums

ALFRED SHANGHAI COVER

We are very proud and excited to bring you ALFRED 23 HARTH’s 11th (!!!) KSE release (12th if you count his appearance on our 10th Anniversary Compilation album), SHANGHAI QUINTET—-an exciting communal performance with young Chinese musicians recorded last fall in Shanghai at one of the city’s most highly-regarded art spaces, Power Station of Art. Since recording the classic JUST MUSIC album in late 1969 (which came out early the next year on ECM), Mr. Harth has always been about collaboration and collective performance, and he’s consciously been re-dedicating himself to the “one element in the mix” collective/collaborative model in his recent performances and albums (his last KSE album was BERLIN ENSEMBLES, and he requested initially to not have his name featured in the artist credit on the front cover, just in the personnel listing on the back).

These two pieces (running about 43 minutes) document a fruitful collaboration–no one dominates, and there’s even a second reed player in addition to A23H. I’ve listened to it in the car, on a cheap boombox, on headphones outside before dawn, etc., and it’s a performance I can’t help wanting to revisit. There’s a variety of shades and textures and a delicious ebb-and-flow to the performances. I was unfamiliar with the Shanghai-based musicians prior to this album, but I’m looking forward to further work from them. When artists place themselves in new and unfamiliar territory, they bring out unexpected sides of themselves–Alfred Harth has an almost five-decade history of doing that, and with his natural shape-shifting inclinations, there’s an infinite amount of variety possible.

Also, the West (and here in the USA, in particular) does not have enough cultural exchange with Asia, and in particular China. Were I in charge of the world, we’d have far more cultural and educational exchanges, far more collaborative projects–a small Texas micro-label devoted to experimental music putting out an album by a group who is 4/5 young musicians from Shanghai, China, is a good start. Even if I never get over there or they never get over here, we’ve “embraced,” so to speak, through the medium of art.

Get your copy of SHANGHAI QUINTET with Alfred 23 Harth now. Only $8 postpaid in the US. See below for ordering details (and foreign pricing)….

Shanghai Quintet (2)

the members of the SHANGHAI QUINTET

KSE #379 (CDR), SHANGHAI QUINTET (featuring Alfred 23 Harth), “ShangShan/Stone Age Music” (Harth and young Chinese musicians, recorded live in Shanghai, China, October 2016)

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

You can STILL get a few of Alfred Harth’s other recent albums for KSE: 

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

and also….

KSE #385 (CDR), TOM CREAN, “3 Heads Tame”

KSE #371 (CDR), SAMUEL DUNSCOMBE & TIM OLIVE, “Zanshi”

KSE #377 (CDR) JOHN BELL , ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

KSE #373 (CDR), DANE ROUSAY, “Anatomize” , solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” … one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

shanghai 3

A23H in front of the poster for the show at which the album was recorded

shanghai 4.JPG

As always, thank you for your support of KSE….now in our 12th year of operation, from San Antonio, Texas….

SHANGHAI QUINTET is the first of SIX new albums coming out between now and January, the others being from TOM CREAN, LISA CAMERON, MATT KREFTING, MORE EAZE, and ERNESTO DIAZ-INFANTE….stay tuned!

October 20, 2017

RARE MOD, VOLUME 5 (CD, Acid Jazz Records, UK)

Filed under: Uncategorized — kendrasteinereditions @ 7:29 pm

various artists, RARE MOD, VOLUME 5

A Fifth Volume of 60’s UK Underground Rhythm’n’Blues, Psych & Soul

CD, Acid Jazz Records, UK (released late 2013)

Rare_Mod_5

The RARE MOD series has not gotten the praise it deserves. With a wide casting of the net ranging from circa ’64 Stones/Yardbirds/Pretties style R&B to club-soul a la Zoot Money to freakbeat to Ronnie Jones-style soul vocalizing to Swinging London-style beat and psych, the series has focused on private pressings and acetates for the most part, which gives it a real authenticity. Acid Jazz seems to be able to uncover some amazing finds, and this collection (which I picked up about two years ago, which was two years after its release–it didn’t seem to get much buzz– I have and love the first four volumes) is a very strong one indeed.

Everything that’s great about the mid-60s British music scene is found in concentrated form on this album…and the demo-like quality of much of the material just makes it stronger, purer. For instance, I did not really care for The Montanas released version of Hey Diddle Diddle, but this early demo rocks much better and is not as over-produced. And while some band doing a cover of My Generation in ’65 or ’66 might not really expect to get on the charts with it, it probably went done wonderfully live, and also, we seem to forget that back in those days, it was an achievement to do a successful and hot cover of a then-present day anthem like that.

We’ve also got a promo-only unissued single from the soulful and brash Sharon Tandy (whose album I was proud to review at Ugly Things), obscure bluesy tracks by such UK soul masters as Geno Washington and Jimmy Jones and the Vagabonds, maximum R&B from Flamingo Club regular Tony Colton (who was managed by the Gunnell Brothers–imagine the stories he could tell!), a track from an acetate LP recorded in Bristol by a band called TJ Assembly, who were still sounding like a rehearsal tape of the 1965 Pretty Things but in late 1967, and lots more….20 aggressive R&B-flavored tracks that remind us why the UK was the place to be for Beat music in the 1960’s.

The very randomness of a compilation like this (although, as usual for Acid Jazz, it’s VERY well programmed, like the DJ-set of your dreams) is its strength. Just imagine you run an R&B-themed club on some London back street in 1965, and you are thumbing through the many demo tapes and acetates dropped off by bands wanting to be booked. Imagine what a dream situation that would be—-all PRIME R&B/beat, but all new to your ears, and all from the core of the movement. That’s what you get here. Every band wants to put its own spin on the music, so the variation of influences is fascinating. We should be both happy and amazed that 50 years after, there are still such gems to be uncovered.

While you are at it, why not pick up any of the BEATFREAK compilations you can find, and if you want to dig even deeper, try googling “un-lost tommyknockers” and start downloading what you find onto CDR’s. This is what rock and roll is all about; this is what scattered the seeds that grew into punk. The purity of this music still can raise the hair on the back of your neck today.

A 6th Volume in this series was released in 2015 and was claimed to be the final volume in the series. I just ordered it. If the Star-Club era Beatles were your favorite Fab Four period, if a Mono copy of the Pretty Things “Get The Picture” is your idea of the ultimate in music, if the idea of UK bands doing raw garage-y versions of obscure Tamla b-sides excites you, grab a copy of RARE MOD VOLUME 5  yesterday.

1. The Top Six – I’m A Man
2. The Montanas – Hey Diddle Diddle
3. Debrah Aire – Don’t Be Proud
4. Tommy Bishop – Sugar Man
5. Unknown Mod Band – My Generation
6. Tony Colton – Train Train
7. Geno Washington – Rock My Baby
8. TJ Assembly – Something
9. The Troop – You’ll Call My Name
10. The March Hare – With My Eyes Closed
11. Phaethon’s Brethen – I Put A Spell On You
12. The Dynamite Orchestra – Sh’Mon Part 2
13. The Disturbance – Green Tamborine
14. Jimmy James & The Vagabonds – Private Number
15. Unknown Mod Band – She Is Better
16. All Night Workers – Look At A Granny Run Run
17. The Army – Sugar
18. Easy Virtue – Bye Bye Honey
19. Four Steps Beyond – Keep Your Hands Off My Baby
20. Jeff Curtis And The Flames – Route 66

September 28, 2017

Reverend Raymond Branch (1931-2017)

Filed under: Uncategorized — kendrasteinereditions @ 5:55 pm

Reverend Raymond Branch (1931-2017)

now gone from us, to join The Lord

serving God by serving those among God’s children least able to help themselves

rev r i p

September 23, 2017

now available…spoken-word CDR album “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems” (KSE #381)

Filed under: Uncategorized — kendrasteinereditions @ 11:58 am

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

BRIDGE CDR POETRY ALBUM 2017

$8 postpaid in the USA  (see below for foreign pricing and ordering instructions)

These five six-page poems were composed during my May 2016 writing vacation on Bayou Teche in St. Landry Parish, Louisiana. They were published initially in 41-copy homemade KSE editions in 2016, all of which are long out-of-print. The five pieces are

BRIDGE ON THE BAYOU

REVELATION IN SLOW MOTION

RECONDITIONING

SATORI IN OPELOUSAS

SCRAPPLE

These will all appear later this year in a 44-page professionally printed 8″ x 10″ paperback, in the same publication format as my earlier collection DOWN AND OUT IN GULFPORT AND BILOXI. What’s on offer here is the album of my reading these pieces. These spoken-word poetry albums I’ve done over the years have always emphasized atmosphere—-you hear the sounds of the reading environment, capturing the textures and particularities of the event of the reading performance. The earlier albums were recorded by Derek Rogers, during the period he lived in Austin, and the recent albums were recorded by Marcus Rubio (aka More Eaze), both gentlemen with whom I’ve done poetry-and-music collaborations and who truly “get” the form of the poems and how to re-create that via a recording. This particular album contains a “guest performance” of aleatory percussion effects from the paws and collar of Marcus’s dog Pierre.

As for the poems, why don’t I quote some of last year’s comments on the first of the five, BRIDGE ON THE BAYOU (this was written for someone who was unfamiliar with my poetry–probably most of you reading this do not fall into that category):

“The spring was nothing new to him, nor its sounds, its perfumes, its colors; nor was its tender and caressing breath; but, for some unaccountable reason, these were reaching him today through unfamiliar channels.”

–Kate Chopin, An Easter Day Conversation

After a lot of planning/organizing/note-taking (which I always do for each work—-one cannot get any useful construction done without a blueprint and without first laying a foundation) during spare minutes in the Spring of 2016, I hit the ground running when I finally got my almost-two-week “writing vacation” on Bayou Teche, on the south end of Arnaudville, Louisiana, in St. Martin Parish, in the second half of May 2016. Enjoying strong black tea each morning on a floating dock on the bayou, watching the sun come up, I worked hard  into the afternoon and then again in the late night…and managed to produce  FIVE six-page poems, of which BRIDGE ON THE BAYOU is the first. Each is a collage of images filtered through a different narrative persona, reflecting an invented but likely narrative set in that area, presented in the open-field style….core samples of the state of things and of consciousness circa 2016, postcards from the front, junk sculpture from the New Gilded Age. If you are new to my poetry (and greetings to those who saw my reading at TYCA-SW or who stumbled across DOWN AND OUT IN GULFPORT AND BILOXI on Amazon or elsewhere), my technical roots are in Paul Blackburn, Ted Berrigan, Larry Eigner, mid-to-late 60’s Robert Creeley, Diane Wakoski, and late-period W. C. Williams—-although I have taken that ball handed off to me by the poets of earlier generations and run with it in my own directions toward my own goals. My first book-length work, from 2005, was 12 GATES TO THE CITY: THE LABOURS OF HERCULES IN THE LONE STAR STATE (published by Word Mechanics), a twelve-part journey along the Interstate-10 corridor from Lake Charles to Las Cruces, though mostly here in Texas, which treated the source legend of the classical Hercules and his 12 labours the way I felt that Jean-Luc Godard had treated KING LEAR in his little-known adaptation from 1987, a work which was a huge inspiration. It’s been a long, strange trip for me since then, issuing over a hundred five-to-eight page poetry chapbooks, another book-length work (Point Loma Purple), and operating the music-and-poetry collective Kendra Steiner Editions, which has released over 350 albums and chapbooks and which has carved out a significant international presence in that time…. 

The words, phrases, and stanzas float on the page; the insects, dirt, leaves, and broken twigs float downstream on Bayou Teche. If you are new to the world of post-Projective Verse poetry composition, I recommend reading the following essay, “Projective Verse: The Spiritual Legacy of the Beat Generation,” by Paul E. Nelson: http://paulenelson.com/organic-poetry/spiritual-legacy-of-the-beat-generation/

BRIDGE ON THE BAYOU….energized particles of language and consciousness with the taste of central Louisiana….six pages, six fields, six assemblages, six “portholes of consciousness”…..thick pine smoke in our eyes, already moist with tears….husky patriots armed with dogwhistle jargon meet behind the rose hedges….her brother had become inattentive at his job at the meat processing plant, consumed with his quest to find a cache of treasure buried in a brass bucket by retreating French pirates two centuries past….detached, but not indifferent….manifestations of Siva on the horizon….hard trials & great tribulations….

This album has been in circulation privately for many months, but I wanted to get all the Summer 2017 KSE music releases out first before I released this. Now that those are all out (and the first of the Fall/Winter releases, from Alfred 23 Harth, will be coming in a few weeks), it’s time to get this out to a larger audience (I hope!). It should be an excellent entry-way to the book publication of these pieces. With writers as diverse as Chaucer and Gertrude Stein, hearing a recording of an author’s work being read often can give one an excellent sense of how it reads on the page, allowing for the reader to sound out the words in his/her/their head while savoring the language. I’ve been told by a number of readers that hearing my pieces read helps give them a voice to hear on the page. You be the judge.

$8 postpaid in the USA  

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

FOREIGN KSE FRIENDS: we have a lot of great albums to use for your second album, costing only 2 dollars more (!!!) than one album, due to the exorbitant foreign postage rates, which are pretty much the same for one or for four or five cd’s. Take advantage of that and get some OTHER CDR ALBUMS OF EXPERIMENTAL MUSIC (and more) PRESENTLY AVAILABLE FROM KSE:

KSE #371 (CDR), SAMUEL DUNSCOMBE & TIM OLIVE, “Zanshi”

KSE #377, JOHN BELL, ‘Cambridge Surprise Minor and other peals’

KSE #375, MASSIMO MAGEE & JAMES L. MALONE, “The Limits of the Possible”

KSE #373, DANE ROUSAY, “Anatomize” 

KSE #381, BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”…

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”


You can also get some KSE poetry chapbooks in the same order with your CDR’s (note: foreign orders must buy a minimum of two CDR’s in order to get poetry chapbooks at these prices…write me if you have any questions….sorry, but that’s the way the US Postal Service operates….it costs me $14.50 to send ONE cdr overseas)

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #386 (poetry chapbook), BILL SHUTE, “Trimmings”

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities”

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals”

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown”

KSE #376 (poetry chapbook), BILL SHUTE “New Jerusalem”

KSE #372 (poetry chapbook), BILL SHUTE, “Guest Register”

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

Thanks for your support as we are in our 12th year of operation, dedicated to forward-thinking music and poetry.

 

FYI: The earlier copies of this poetry album which were in circulation contain an incorrect stock number, one which was later assigned to another album. I doubt anyone “trainspots” our releases that closely, but I wanted to make that clear in case there is any confusion… KSE #381 is the correct number for this release, NOT KSE #368….

 

September 15, 2017

new poetry chapbook, TRIMMINGS (KSE #386), now available

Filed under: Uncategorized — kendrasteinereditions @ 8:15 pm

BILL  SHUTE,  “TRIMMINGS”

KSE #386 (poetry chapbook)

composed in New Mexico and Texas, June and July 2017

edition of 41 hand-cut, hand-assembled copies

$6 US postpaid / $7 elsewhere postpaid

payment via paypal  to     django5722(at)yahoo(dot)com

please leave note with your order letting me know which items you are ordering and your mailing address…..thanks!

trimmings cover

Interrupting the sequence of seven Natchez poems, here is a new piece written after those, over a number of weeks in June and July 2017….in Ruidoso and Santa Fe, New Mexico, in El Paso, Texas, and edited and finalized in between watching horse-racing simulcasts from Mountaineer Park in West Virginia.

A six-page open-field poem, a language sculpture, containing trimmings from contemporary American daily-life and consciousness (read the Wikipedia entry on “advanced meat recovery” to get further insight into one of the meanings of “trimmings”).

Searching for the horizon line….tramp stamps & dinosaur juice….they’re bombing civilians somewhere, in my name & on my dime….only the floors, the ceilings, and the fourth walls offer escape, transcendence….clinging to the raft of the Medusa….not sure where she can catch the last train to Shreveport….

Many thanks to those who’ve sent feedback on the first five volumes of the Natchez poems (all of which are still available)…the final two volumes will come out in the next two months, and I’ll be recording the entire sequence for release as a spoken-word CDR album in 2018 sometime. Stay tuned.

I hope you find TRIMMINGS interesting and worthwhile. Thanks for your reading all these years!

“I can’t paint views. I can paint objects. I can’t paint views.”–John Singer Sargent

Also, if anyone is reading this in Western Massachusetts, I’m going to be back East next summer (PA/NY/NJ/CT/MA), and I’ve been invited to do a reading in the greater Amherst area while back there (I did a reading at Flying Object back there in 2001). I’ll hold off on the specifics of the bookstore (and the identity of the amazing poet I’ll be reading with) for now, but if you’re in the area, please check back here next May or early June for the details…this will probably be in late June of 2018.

Also available, for the same price:

($6 US ppd/$7 elsewhere ppd)

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities,” 5th of the Natchez poems

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals,” 4th of the Natchez poems

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown,” 3rd of the Natchez poems

KSE #376 (poetry chapbook), BILL SHUTE, “New Jerusalem,”  2nd of the Natchez poems

KSE #374 (poetry chapbook), BILL SHUTE, “Guest Register,” 1st of the Natchez poems

As we are now in our 12th year of operation at KSE, thanks to all who have read, listened to, talked about, written about, promoted, mentioned online, played on the air, shared a post or a link about,  etc. our releases in that time. There are, literally, tens of thousands of KSE releases out there in the world, both poetry chapbooks and CDR albums. I like to think of our operation as a kind of post-modern Johnny Appleseed…and I’m always surprised and happy about the many ways our releases have taken root and caused various things to sprout, all over the world. There are hundreds and thousands of micro-labels and micro-presses over the world—-we’re really in a golden age right now in terms of that, which is great since so much of what’s going on otherwise in the world and in the USA right now sucks and we are in a kind of low period historically—-and I wish them all well. Person-to-person communications across the oceans and between cultures among those into the many and various arts can be a very positive force and can in a small way counteract the many and varied nefarious forces out there scorching the earth and its people in the service of corrosive forms of capitalism, fundamentalist religion (of all stripes), tribalism and nationalism and cultural xenophobia, the military-industrial complex, personal vanity, etc.

Our fall 2017 lineup of music releases will begin in October with an exciting new release from the SHANGHAI QUINTET featuring Alfred 23 Harth. Stay tuned….

August 22, 2017

new album from SAMUEL DUNSCOMBE and TIM OLIVE, “Zanshi” (KSE #371)

Filed under: Uncategorized — kendrasteinereditions @ 8:31 pm

samuel_0001

SAMUEL DUNSCOMBE & TIM OLIVE, “ZANSHI” (KSE #371, CDR album)

$8 postpaid in the USA  (see below for foreign pricing and ordering instructions)

All sounds performed by Samuel Dunscombe and Tim Olive in Kobe, Japan (2015).
Recorded and mixed by Samuel Dunscombe
Mastered by Alan Jones (Laminal Audio)
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Artists’ statement on this album:
Zanshi: residue, vestigial traces, dregs.  Zanshi is what is left after the core of an object, sound, image, has been removed.  A faint impression, a decaying outline, perhaps in which the original is no longer clearly recognisable.  This album applies this process to a number of sound-generators: the clarinet, the guitar, radio, analogue tape, field recordings, and others.  Sounds and instruments are de-cored, hollowed out; the fragile remnants are amplified, examined from multiple angles, pushed and pulled.  You hear the faint outline of one afternoon in Kobe, Japan, 2015. (SD, TO)

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Thanks to Steve Flato for alerting me to the work of Samuel Dunscombe and Tim Olive. Little needs to be added to their statement above….except that the album is richly textured, and three-dimensional and crystalline in my mind’s eye, fully embodying the “de-cored….hollowed-out” technique of the sound sculpture heard on ZANSHI .
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The extreme alteration-through-subtraction used here (kind of a “homeopathy in sound,” if I may coin a phrase) is a technique I have always found fruitful. Growing up in the 1970’s, I was very influenced by 1960’s works such as Warhol’s silkscreens (and the ones which most distorted and redefined the original image were always the most satisfying to me) and the process of extreme subtraction and thus dislocation found in the 1962 poetry book “The Tennis Court Oath” by John Ashbery. I am also a silent film aficionado and over the years have watched a number of deteriorated prints of otherwise-lost films, some of which resembled the image found on the cover of this album.
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I’m also reminded of a fascinating exhibition at the Menil in Houston a few years ago, “Apparitions: Frottages and Rubbings from 1860 to Now,” which showed a wide variety of visual artists reveling in the “residue and vestigial traces” described by Dunscombe and Olive. Here is a link to a description of that exhibition:
 https://www.menil.org/exhibitions/234-apparitions-frottages-and-rubbings-from-1860-to-now
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And for another example of the kind of synchronicity in the arts that makes life worthwhile….While listening to ZANSHI in preparation for its release, I was re-reading the Gertrude Stein collection LAST OPERAS AND PLAYS. In the most extreme texts found in that collection, when Stein has subtracted the traditional elements of plot, character, dramatic structure, etc. from these “operas and plays”, what remains—-the words on the page—-are a kind of ZANSHI.
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The residue, the flotsam and jetsam—- decontextualized—- are now central, forcing us to recalibrate, to let go and venture outside of our comfort zones, and to find the beauty in that which has been discarded and weathered by the elements. Hints of now-illegible images on the sides of long-abandoned buildings from Rocky Mountain ghost-towns having become new and cryptic and fascinating “works”—-that is the essence of ZANSHI. And that’s what is behind the austere beauty of this new album, these two extended sound sculptures from Dunscombe and Olive.
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I rarely use headphones—-I’m an old-school listener who wants to hear my music through speakers—-but headphones add another level to one’s experience of ZANSHI. You are plunged into the world of what’s left when what was considered essential has been removed. ZANSHI.
.
Get your copy of this unique and satisfying album now. It’s the last of our new music releases for Summer 2017 (there will be a spoken-word poetry album in a week or two, which is technically the last album in our Summer schedule), and then we’ll take a break for a month or so when we’ll come back with the fall/winter round of albums, beginning with another heavy-hitter from ALFRED 23 HARTH, “SHANGHAI QUARTET….ShangShan/Stone Age Music”.
.
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Visit Samuel Dunscombe and Tim Olive at
http://www.samueldunscombe.com/
https://timolive.org/
.

$8 postpaid in the USA  (see below for foreign pricing and ordering instructions)

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

FOREIGN KSE FRIENDS: we have a lot of great albums to use for your second album, costing only 2 dollars more (!!!) than one album, due to the exorbitant foreign postage rates, which are pretty much the same for one or for four or five cd’s. Take advantage of that and get some OTHER CDR ALBUMS OF EXPERIMENTAL MUSIC (and more) PRESENTLY AVAILABLE FROM KSE:

KSE #377, JOHN BELL, ‘Cambridge Surprise Minor and other peals’

KSE #375, MASSIMO MAGEE & JAMES L. MALONE, “The Limits of the Possible”

KSE #373, DANE ROUSAY, “Anatomize” 

KSE #381, BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”…

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

Thanks for your support as we are in our 12th year of operation, dedicated to forward-thinking music and poetry.

August 10, 2017

5th in the series of Natchez poems, THE DIFFICULTIES, THE IMPOSSIBILITIES, from Bill Shute (KSE #382)

Filed under: Uncategorized — kendrasteinereditions @ 10:04 am

(note: thanks to all who came out to my reading at Artpace on August 8th, as part of the Right Now Experimental Music Festival….we had an audience of 65-70 for my set, and the entire evening was a great success with exciting performances from many cutting-edge experimental sound artists…including KSE recording artists MORE EAZE and DANE ROUSAY)

the fifth release from the recent poems written in Natchez, Mississippi

BILL SHUTE, “THE DIFFICULTIES, THE IMPOSSIBILITIES”

(KSE #380, poetry chapbook)

edition of 41 hand-cut, hand-assembled copies

$6 US postpaid / $7 elsewhere postpaid

payment via paypal  to     django5722(at)yahoo(dot)com

please leave note with your order letting me know which items you are ordering and your mailing address…..thanks!


“to trust chance is to hear voices” — Jean-Luc Godard

the difficulties cover pic

I composed SEVEN six-page poems during my two weeks in Natchez, Mississippi, in May 2017, and here is the fifth one to be edited and formatted: THE DIFFICULTIES, THE IMPOSSIBILITIES. The final two will come out gradually throughout the year, and I also hope to record all seven later this summer for 2018 release. As usual, it’s open-field poems filtered through the consciousness of a narrative persona who is up to his waist in the muck, but looking toward the horizon (I’d say stars, but these were written during the daytime)—-JUNK SCULPTURE FROM THE NEW GILDED AGE.

Cork-lined reveries of  exploding water-heaters and garage doors that won’t close….frozen music on the brink of intelligibility….no subject, no object….like the butterflies, I strive to remain well-camouflaged, sensitive to the tonal changes between the tragic & the absurd.

These seven pieces written in Natchez will eventually be collected in a full-sized professionally printed book, but as always, the home-made KSE chapbook publication is the only publication in the original formatting, with the original art, with the original epigraph (this time from Jean-Luc Godard, see top of post), and in the intended form of its creation. There are only 41 copies….grab one now, while you can.

Each of these chapbooks is a stand-alone piece (the “serial poem” concept of Jack Spicer seems to fit my work well), so don’t worry about what order they are in. I consider each narrator to be a unique person telling his/her unique story from his/her unique perspective. I as poet am just the actor playing the part, the gallery-operator assembling the exhibition.

Many times I see a film or view a painting or hear a piece of music and feel as though its creator has experienced the same kind of epiphany which I experienced in the creation of a particular poem—-or perhaps I should say that the work creates in the viewer/listener the same kind of epiphany which I feel the poetic assemblage I am offering up SHOULD create in the reader. I’m not mentioning poetry here because if I felt another poet was doing what I do in the way that I do it, there would be no reason for me to take the time and effort to repeat what’s already been done. I learned my craft when I was younger through close study of the works of Paul Blackburn, Ted Berrigan, Larry Eigner, Frank Samperi, Diane Wakoski, Robert Creeley, William Carlos Williams, and others. I took what I learned from them and combined that along with my own aesthetic and life experience and structural tendencies and reading and education, and the result has been my poetry. I still consider someone like Hart Crane or Emily Dickinson the ultimate in what one can achieve poetically, and I continue to read with a passion the poems of Melville, W. S. Merwin, John Ashbery, Stuart Z. Perkoff, Leland Hickman, and many others, but I can’t really talk about “influence” in those cases because my work does not resemble theirs in any obvious way….and with a Crane or a Dickinson, who could EVER be worthy to loosen their sandal straps….or even be mentioned in the same sentence? In the case of, say, a Blackburn or a WC Williams, it should be clear to most readers what I have taken from those gentlemen and how I have developed it and/or extended it. You can take or leave the end result (or, in most cases, be blissfully unaware that it even exists), but that’s my story, and I’m sticking to it.

I mention all this about feeling a kinship with works in other disciplines because as I re-read THE DIFFICULTIES to write this post, it dawned on me that it reminded me of a silent comedy short I used to own back in the 1980’s on a VHS tape…..the 1927 short MOVE ALONG, featuring Lloyd Hamilton. It’s not on You Tube,, but you can read an excellent appreciation of the film here: http://silentbeauties.blogspot.com/2012/05/move-along-1926.html

Also, at the time of this writing, you can view the film in so-so quality (about the same as my old VHS tape, actually) here: https://free-classic-movies.com/movies-02/02-1926-07-25-Move-Along/index.php

You don’t need to watch the entire thing….check out the first three or four minutes, and you’ll get a good sense of where I feel I’m coming from with this series of poems, and THE DIFFICULTIES in particular. In fact, while it is too pretentious a title for a comedy short, you could probably re-title MOVE ALONG as THE DIFFICULTIES, THE IMPOSSIBILITIES and it would be a fairly accurate label. This comparison may seem odd or confused to many—-however, if it makes sense to you, then you are probably my ideal reader. Nice to meet you!

I hope you find THE DIFFICULTIES, THE IMPOSSIBILITIES interesting and worthwhile. Thanks for your reading all these years!

Also available, for the same price:

($6 US ppd/$7 elsewhere ppd)

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals,” 4th of the Natchez poems

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown,” 3rd of the Natchez poems

KSE #376 (poetry chapbook), BILL SHUTE, “New Jerusalem,”  2nd of the Natchez poems

KSE #374 (poetry chapbook), BILL SHUTE, “Guest Register,” 1st of the Natchez poems

the difficulties cover pic

August 7, 2017

WOW, WOW, BABY! 1950’s R&B, Blues & Gospel From Dolphin’s Of Hollywood, Volume 3

Filed under: Uncategorized — kendrasteinereditions @ 7:05 am

WOW, WOW, BABY! 1950’s R&B, Blues & Gospel From Dolphin’s Of Hollywood, Volume 3

Ace Records (UK) CD, CDTOP 1438, released in 2015

01  Heavy Artillery (aka The Solid Rock) – Big Boy Groves & His Orchestra featuring Roland Mitchell

02  Man Have I Got Troubles – Scatman Crothers

03 Wow Wow Baby – The Hollywood Four Flames

04  Pete’s Boogie – Memphis Slim

05  S.K. Blues – Jimmy Witherspoon

06  Years And Tears Ago – Little Margie with Big Boy Groves & His Orchestra

07  Oh Baby – Floyd Dixon

08  Step In The Right Direction – Brother Prince Dixon

09  I Walk All Night – Johnny Fuller

10  Elaine – Scatman Crothers

11  Yak Yak Woman – Marvin & Johnny

12  Sleep, Drink And Play – Earl Burton

13  Traffic Ticket – Big Boy Groves & His Orchestra

14 My Love Is Real – James Reed

15  Hey Rube – The Mellow Tones

16  Never Can Tell (When A Woman’s Going To Change Her Mind) – Floyd Dixon

17 Lonely, Lonely Woman – Little Eve with Big Boy Groves & His Orchestra

18  Teenage Party – Jimmy Witherspoon

19  Fancy Pants – Tap Anthony & His Orchestra

20  Don’t Blooper – Grady Chapman & The Suedes

21  All Messed Up – Vernon Anders

22   I Need The Lord To Guide Me Everyday – Brother Prince Dixon

23   Teenagers Only – Little Margie with Big Boy Groves & His Orchestra

24  Oh Yeah! (aka Rock And Roll) – Chuck Higgins & The Mellotones

WOW WOW

Los Angeles music entrepreneur John Dolphin first came to fame as the colorful owner and operator of a 24-hour-a-day record store DOLPHIN’S OF HOLLYWOOD (not located in or near Hollywood) , which opened in 1948 and became famous locally for having a DJ broadcasting live from its window. Dolphin soon realized that if he had his own labels and controlled all aspects of recording/pressing/etc., then he would not have to be paying OTHER people or companies, so he launched in 1950 his Recorded in Hollywood label, eventually to be followed by the Cash and Money labels. There was always a refreshing rawness and spontaneity to the Dolphin operation. Supposedly, his release schedule is a discographical nightmare, with numbers repeated or skipped, B-sides replaced without warning or logic, etc. And the recordings themselves have a refreshing, one-take quality (even if they weren’t one-take). The labels continued until Dolphin’s death in 1958….although his widow Ruth revived the Money imprint in the 1960’s and released a good number of first-rate soul singles into the early 70’s (these are collected on three Ace-label comps, The Soul of Money Records, all very much worth owning). Specialty released a compilation of 1950’s R&B from the Dolphin archive in the 1990’s, compiled by Billy Vera, and eventually UK Ace acquired Dolphin’s catalogue and so far they have issued three various artists compilations devoted to 1950’s R&B/blues from this rich archive.

Dolphin did not seem to have some grand scheme or over-arching vision for his labels; he was not searching out a particular “sound” or exploring the limits of some vision of music. He was looking for records which he could sell at his store, promote locally, and perhaps get a national or regional hit out of. His was a cash-based business, and he was not a man who wasted time with contracts or royalties. This approach might have driven a business major crazy at the time, but in hindsight it led to a wide variety of recordings (he even recorded country music, including one song I’ve heard which was composed by Murry Wilson, pre-Beach Boys!) from a wide variety of artists—-people who didn’t record for anyone else, local performers who were popular in clubs but not on record, artists from elsewhere who were temporarily in the Los Angeles area, performers whose managers/producers felt they were “on the way up” and saw Dolphin as an outlet where they could “break” their talents, and well-known professionals who could easily knock out a solid, quick session for Dolphin for pocket money and not worry about where or when or how it would be issued. With this approach, Dolphin managed to document a wide swath of the rich music and cultural scene of Black Los Angeles in the 1950’s. That’s what has made these three volumes of Dolphin material so exciting and enjoyable. YOU are there on Central Avenue during one of the great periods of music history, essentially dipping your ladle into the soup pot of Los Angeles R&B and pulling out 24 rich and delicious sips, all of which are obscure and raw and fine and flavorful.

You get two tracks from Scatman Crothers (many years ago I reviewed a compilation of Crothers’ singles for various labels, on the German “Hydra” label, for Ugly Things magazine, and you should find that comp ASAP), which alternately showcase his skills as a blues singer and as a vaudeville artiste; vocal group rarities from The Mellow Tones and The Hollywood Flames and the young Marvin & Johnny; two deep Gospel tracks from Brother Prince Dixon; rockin’ sax-led nightclub R&B from Big Boy Groves; one-off material from well-known blues artists Memphis Slim, Floyd Dixon, and Jimmy Witherspoon; and finally, an anthemic track by sax honker Chuck Higgins. It’s all hardcore Los Angeles R&B (except for the Gospel tracks, of course) and shows the diversity of the scene, and it’s all new to me, except for a handful of tracks which are either alternate versions of things issued elsewhere or taken from that 1990’s Specialty album. However, that’s not a major problem—-I can’t imagine anyone who owns that album (as I do) complaining because this 24-track collection contains one excellent track after another. It’s as if you are a fly on the wall in Dolphin’s back-room studio during one of the richest periods of Los Angeles music.

Can’t wait for Volume 4—-thanks to Ace for doing such a great job mining the Dolphin vein (and also for mining the other Los Angeles labels they control: Dootone, Combo, Modern, etc.). By the way, vinyl collectors might want to seek out an old vocal group compilation called DOLPHIN’S OF HOLLYWOOD: THE DOO WOP SESSIONS on the Swedish Mr. R&B subsidiary label “Earth Angel,” which was of course a label devoted exclusively to Los Angeles recordings. You can still find that LP for a reasonable price.

WOW, WOW, BABY! 1950’s R&B, Blues & Gospel From Dolphin’s Of Hollywood, Volume 3 offers up an instant party, one which will satisfy the hardcore collector of this kind of music and which should hook the neophyte, who will surely be ordering the other albums in the series and then Ace’s MELLOW CATS AND KITTENS series of archival digs through the Modern records catalogue. WOW, WOW, BABY! has been a regular visitor in my home and in my car for a few years now, and I want to share the excitement with YOU!

 

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