Kendra Steiner Editions

August 21, 2017

available KSE music and poetry releases, updated 7 Oct. 2018

Filed under: Uncategorized — kendrasteinereditions @ 1:40 pm

ALBUMS NOW AVAILABLE….

TIM OLIVE 2018.LISA AND ROBERT 2018 COVER

JOSHUA album cover 2018 corrected….ALFRED NICOLA NEW COVER 2018


NEW AND RECENT KSE RELEASES, AVAILABLE FOR ORDER

UPDATED  22 OCTOBER  2018

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.

now available for immediate shipment:

KSE #397 (CDR), TAKUJI NAKA / TIM OLIVE, “Quince”

KSE #399 (CDR), LISA CAMERON / ROBERT HORTON, “The Ten Thousand Things”

KSE #402 (CDR), CONTEMPORARY SHAMISEN DUO (Ryota Saito/Joshua Weitzel), “Genpatsuryoku”

KSE #400 (CDR), ALFRED 23 HARTH / NICOLA L. HEIN, “When The Future Was  Now”

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to)”, solo percussion

KSE #396 (CDR),  MASSIMO MAGEE, “Tenor Tales,” solo tenor saxophone

KSE #395 (CDR), BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR), ERNESTO DIAZ-INFANTE,  “The Lovers Escape/Los Amantes Escapan”

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

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….

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Thanks for your support of KSE (now in our 13th year of operation, with over 390 releases in that time!) and all other independent, non-aligned arts organizations.

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September 3, 2018

new 60-page SATORI IN NATCHEZ poetry collection from Bill Shute

Filed under: Uncategorized — kendrasteinereditions @ 2:59 pm

SATORI IN NATCHEZ

poems by BILL SHUTE

approx. 60 pages, perfect-bound, KSE #408      $9.95 

ISBN  9781724883292

not sold through KSE—-in the USA, order direct from https://amzn.to/2Mt4wHO

elsewhere, from your local Amazon outlet

In the Summer and Fall of 2017, KSE issued seven different six-page open-field poems composed during my stay in Natchez, Mississippi, each as a separate stand-alone chapbook in micro-editions of 30-40 copies. Those are long-gone, but all seven pieces have now been collected in one attractive perfect-bound volume, SATORI IN NATCHEZ, available from Amazon outlets in both North America and Europe. Whatever country you are in, just search your local Amazon website for it, and it will be manufactured locally and will only require local postage (or possibly NO postage, if you order it with other things). Also, and this is a first for me, it’s available on Kindle!

satori createspace cover

contains the selections

GUEST REGISTER

NEW JERUSALEM

MELTDOWN

TIME CRYSTALS

THE DIFFICULTIES, THE IMPOSSIBILITIES 

SATORI IN NATCHEZ

ARISING, ABIDING, AND DECAY

There are write-ups elsewhere on this website about each of the above seven poems, dating from when the individual chapbooks were published last year, and you can easily find them by putting the title into the search-box on the right side of this page.

Here are some excerpts from one of those:

I composed SEVEN six-page poems during my two weeks in Natchez, Mississippi, in May 2017, 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).  …

As I read these pages aloud to Mary Anne after not having looked at the pieces for months, I was reminded how deeply the red wheelbarrows and petals on a wet black bough of my teenage poetry studies took root, then the initial shrubbery later trimmed and pruned through my study of Charles Reznikoff and Lorine Niedecker….but I’m not the kind of person who thinks of influence very often. One learns one’s craft in adolescence and then learns how to apply and develop—-and, we hope, go beyond—-the influences during one’s apprentice years. After that, we have the tools to add whatever life throws our way into our poetic stew and to make it work and make it distinctive and make it seductively tasty in such a way that others will want to consume it….and then want to come back for next week’s variation.    …

Also, in terms of poetry serving as a core sample of life as it is lived circa 2017, if we want to better understand and to document this age, we need to taste the soil and walk the walk in places such as Natchez, Mississippi. There is a lot to experience, a lot to learn…and a lot to savor. The voices past and present are calling out.    …

Crew members took the flowers from the tables before the banquet ended….piquant piccadilly sunshine cuts through the layers of kudzu and the residue of habit….standing water from yesterday evening’s showers, widening the cracks in the cream-stained wood, washing the grime from our feet, mis-shapen from the miles marched in steel-toed boots….two black horses pulled the carriage with the coffin through a swarm of beret-wearing beatnik flies, acting as if they were still in Brooklyn…intoning the sutras of the swamp, lined-out by mud, punctuated by mosquitoes, indentured to the payday-loan store & pretending to look alive…..I’m not able to change my gait, but I can adapt it to the needs at hand       ….

Each of these  Natchez 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.

———————————–

I hope you find SATORI IN NATCHEZ interesting and worthwhile.

Thanks for your reading all these years!

Upcoming poetry publications:

I have a joint poetry book from a Western Massachusetts press with Michael Casey, CULTURE OF COMPLIANCE, which has been delayed (it was originally going to be ready for my Massachusetts reading with Mr. Casey in June 2017), but we hope will be ready later in the Fall. I’ll let you know when that’s out and provide ordering information.

Also, I have been invited by Moloko Plus in Germany to do a full-length poetry collection containing pieces from different periods, to be published in 2019. I’m presently working on formatting the selections for that book, which will be approximately 100 pages and will feature an original cover painting by MP LANDIS! Tentative title of that book is JUNK SCULPTURE FROM THE NEW GILDED AGE….

satori createspace cover

July 13, 2018

ALFRED 23 HARTH / NICOLA L. HEIN, “When The Future Was Now” (KSE #400, CDR album)

Filed under: Uncategorized — kendrasteinereditions @ 4:18 pm

ALFRED NICOLA NEW COVER 2018

ALFRED 23 HARTH / NICOLA L. HEIN

“When The Future Was Now” (KSE #400, CDR album)

Cover pencil drawing by A23H from 1975 in New York

$8.00 postpaid in the USA (see below for foreign prices/postage)

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

please include a note with your order listing what you’re ordering and your mailing address….thanks!

Very happy to announce KSE’s  12th release from ALFRED 23 HARTH in the last 8 years, a stimulating and deep set of duets between A23H on clarinets and NICOLA L. HEIN on guitar. It’s now been 50 years (51, actually) since the initial German performances of Harth’s experimental JUST MUSIC ensemble (their pioneering album came out on ECM in 1969, the second album on that label), and since then, Mr. Harth has never been predictable or developed a “routine” that he brings to his performances, and he has always sought out young and unexpected artistic collaborators. We’ve documented this in our dozen A23H releases on KSE, truly a significant and wildly eclectic body of work.

Harth is featured exclusively on clarinets here, which is a treat for listeners, and he has found a worthy partner in guitarist Nicola L. Hein. Hein has been quite busy recently–as I was working with him in putting the album together, he would be in New York, then in Europe, then in the Midwest, then in Asia, then somewhere else, playing, lecturing, and expanding the minds of anyone he encountered. And he is equally difficult to pin down on this album. When I first heard the completed master, for the first 20 seconds or so I wondered if Carl Stone had been sitting in on the session, until I realized that it was Hein and the instrument was a guitar. As a teenager in the 1970’s, I played the grooves off of the two Anthony Braxton–Derek Bailey duo albums on the Emanem label, and I’m sure some will reference those sets when listening to this one, but as far out as Bailey went, I as listener always could tell he was playing a guitar. Though Hein uses no gimmickry in the production of sound from his guitar, it’s amazing what kinds of effects he can produce, and also what an accomplished dancer-in-sound he is as he duets with Harth—-they are the perfect dance partners. There are an infinite number of moods created on the album’s seven tracks, and I think that Harth’s many followers will find this one of his most essential albums….and they will also welcome the introduction to Nicola L. Hein, if they’ve not previously heard of him.

The album was recorded while the pair were in Japan for live performances, and you can see a picture of them in-studio below.

I asked A23H to provide some comments on the album, and he kindly obliged with the following:

This album focuses on free improvised clarinets-guitar duets. During the recording process we developed different tune characters, of which some seem to have a slight balladesque flavor that here & there in their pseudo-harmonical way reminds us on earlier jazz chamber combinations from the 60’s/70’s. To underline these subtle retro aspects in our music, I chose titles of slogans from that era, as the legendary quote by Lennon/Ono War is over, if you want it. Also When The Future Was Now was an exhibition title about pioneering Korean-born artist and composer Nam June Paik (1932–2006), who famously declared that the ‘future is now‘, at Tate Liverpool in 2011.

This way we also paid tribute to the fact that we were able to create this album within the incredibly stimulating Asian influence of contemporary Tokyo in summer 2017.

Nicola, Axel Dörner and I gave a trio performance in spring 2018 in Seoul, and autumn `18 will see a new group REVOLVER 23 of mine together with Nicola, Marcel Daemgen and Jörg Fischer from Germany at the Moscow Jazz in Autumn festival and other places.

Alfred 23 Harth, July 2018

This new album from HARTH and HEIN should never get old, and even if I’d had nothing to do with its release, I’d be proclaiming it one of the best albums of the year. Those who’ve enjoyed Harth’s previous KSE albums and anxiously await each new one will love this pairing with Mr. Hein.

Get YOUR copy now….and also, keep an eye out for the upcoming live performances mentioned above….  See below for ordering information:

Harth Hein at Pit Inn Studio, Tokyo

Mr. Hein (left) and Mr. Harth (center) at Pit Inn Studio, Tokyo

KSE #400 (CDR), ALFRED 23 HARTH / NICOLA L. HEIN, “When The Future Was Now”

NOTE: ALL FULL-SIZED 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 $15 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 $14.75 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 books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Also available from KSE:

KSE #402 (CDR), CONTEMPORARY SHAMISEN DUO (Ryota Saito/Joshua Weitzel), “Genpatsuryoku”

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to),” solo percussion

KSE #396 (CDR), MASSIMO MAGEE, “Tenor Tales,” solo tenor saxophone

KSE #395, BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR) ERNESTO DIAZ-INFANTE, “The Lovers Escape/Los Amantes Escapan” solo nylon string classical guitar

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP (Lisa Cameron, Robert Horton, Raub Roy, Lee Ann Cameron) , “The Frisbee Sessions” 

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)

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

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

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

Ordering is easy….just send me an e-mail at django5722(at)yahoo(dot)com telling me what items you’d like and what country you are in (so I can figure cost) and tell me what e-mail address you’d like a paypal invoice sent to, and I’ll have it off ASAP. Orders are usually shipped within 48 hours of payment being received.
Thank you for your support of KSE, now in our 13th year of operation!
All previous poetry chapbooks are now sold out. Thanks to those who grabbed them in April-June while they were still available….we are very proud of them and hope you have a long and happy life with them! I’ll have TWO full books of poems coming out later this year….CULTURE OF COMPLIANCE (with Michael Casey) and SCULPTURE GARDEN IN THE SNOW (containing the pieces read on the CDR spoken-word album of the same name, listed above).

(NOTE: WE WILL BE OUT OF TOWN IN EL PASO AND NEW MEXICO FROM 18-27 JULY, though please feel free to order during that period….albums will be shipped upon our return on the 28th)

ALFRED NICOLA NEW COVER 2018

July 11, 2018

Summer 2018 Poetry Update

Filed under: Uncategorized — kendrasteinereditions @ 12:57 pm

A few months ago, we announced on the KSE Facebook page that all in-print poetry chapbooks in the standard 5 1/2 x 8″ format would be deleted when they were sold out and that it would be advisable to grab them sooner rather than later. They are now gone—-thanks to you who picked them up in May and June! The seven volumes of Natchez Poems will eventually be collected in book form, but never again in the original format, with the original cover photos, and with the original epigraphs–I’m proud of that sequence, and hope you readers will also find them entertaining and worthwhile. The John Sweet collection is also sold out.

This year I took my annual late May “writing vacation” in Cleveland County, Oklahoma (SW Oklahoma City area), and produced about 46 pages of open-field poetry. However, instead of my usual method of creating six or seven of the six-page KSE chapbooks, this work was cast as one long-form work, and that’s the way it will be published–I hope that it will be available by the end of the year. Tentative title for that book is IN ORDINARY TIME.

There will also be a joint book, half Michael Casey/half Bill Shute, published by a Western Massachusetts press, which should be out within a few months. It was scheduled to be out when Mr. Casey and I did our joint reading in Easthampton, MA, in June but hit a few snags that delayed it. It will be done in the classic “69” style where there are two fronts to the book and one flips it over to get what is essentially a second book. My half is titled CULTURE OF COMPLIANCE, and the entire book runs about 40-50 pages. When it becomes available, I’ll post ordering information, and you should purchase it directly from the press, NOT from me, as we want to encourage them in their excellent taste in poets!

Speaking of Michael Casey, I was privileged to do another joint reading with him in the greater Amherst area (we last did a reading together at the now-defunct Flying Object Books in Hadley, MA, in 2011) on June 22nd at White Square Books in Easthampton, MA. This was a different kind of reading for me. To provide a little background to that observation….the night after the reading, Mary Anne and I saw a play in Pittsfield called CAKE, which was a comedy with dramatic elements, but it had many very funny elements to it. Here in Texas, this play would have gotten a foot-stomping, hooting response to the comic scenes, but in Western Massachusetts, it garnered only the occasional laugh–and most of those laughs were from the two of us and maybe one other couple….although it was clear from the “feel” of the audience that they were very much INTO the play, just not being very demonstrative about that.

I experienced a similar phenomenon at the reading. As with a stand-up comedian or a teacher, I always try to “read the room” when I do a poetry reading, and my reading of THIS room during my introductory comments (and my seeing/hearing the response to Michael Casey’s set, before mine) told me that doing my pieces with the intended long pauses between the stanzas would NOT work. Thus, I read the pieces without the pauses, almost as if they were narrative poems, which turned them into something quite different. I don’t think anyone recorded the reading, but the poems struck me as almost moving into John Ashbery territory (but with wider tonal shifts) when read in that manner. Of course, that’s not the way they are intended to be read–either on the page or in a reading–but it’s always interesting when any kind of art is recontextualized and put into a different vessel for its delivery….maybe not a revelation, but interesting. Thanks to all who came out for that reading. It’s a small venue, so it was packed, and people did smile in all the right places and gasp (though not audibly) in all the right places, so I did manage to do what I went there to do. Below is a pic of Mr. Casey and yours truly, holding each other’s books. Casey was in fine form, as always, and his funny and true-to-life character-driven pieces tend to win over any audience that experiences them either on the page or in a reading. He and I were asked to submit new material, pieces composed in the last year, for this duo book, so I’m looking forward to seeing what pieces  of his those are. At the reading, many of the pieces seemed to be from his recent collected works volume, THERE IT IS.

BILL AND MIKE 2018

BILL SHUTE (L) and MICHAEL CASEY (R), holding each other’s books, after the 6/22/18 poetry reading at White Square Books, Easthampton, MA

My next solo poetry book (in addition to the Casey-Shute book) will be another 8 x 11 full-sized mass-market collection, available from Amazon both in North America and Europe, formatted by Wyatt Doyle of New Texture (who did such a fine job on my earlier collections DOWN AND OUT IN GULFPORT AND BILOXI and BRIDGE ON THE BAYOU), collecting pieces from 2015: SCULPTURE GARDEN IN THE SNOW. There is a CDR album of me reading these pieces presently available, so the printed collection, in a large format that allows the pieces to breathe in the way they are meant to, is perfectly timed. I’ll post an announcement and a link to order when that book is ready (a few months, I’d guess). Until then, the previous two mentioned above are still available. You can find them here: http://amzn.to/2jxJaZc   As these are print-on-demand,  wherever you order them from—-Canada, France, Germany, Italy, etc.—-they will be treated by Amazon as a LOCAL purchase with local postage, saving you a lot of money. I don’t sell these books directly, except at readings–please by them via Amazon, which is convenient for you and for me.

So there are two books to look forward to in the coming months, and I’ll be editing and formatting the Oklahoma-written material through the summer, and that material will become another full-sized book (not via KSE-format chapbooks–that format will be given a break for a while). Thanks to all for your support over the years–back during the period of TWELVE GATES TO THE CITY and POINT LOMA PURPLE, all the way up to the present, and into the future.

And don’t forget that my poetry is also featured on the recent album CAMPANULA by ALFRED 23 HARTH  and  JOHN BELL on the German “Moloko Plus” label–my voice is reading on the album, and the poems are re-printed in the lavish booklet which is part of the package….and I also wrote liner notes for the album. Just Google the title and the artists and you can find how to order a copy of that excellent album.

July 5, 2018

first of the Summer 2018 releases: CONTEMPORARY SHAMISEN DUO, “Genpatsuryoku” (KSE #402)

Filed under: Uncategorized — kendrasteinereditions @ 1:45 pm

CONTEMPORARY SHAMISEN DUO (Ryota Saito / Joshua Weitzel)

GENPATSURYOKU (KSE #402, CDR album, bilingual edition)

original cover artwork by MP Landis   

$8.00 postpaid in the USA (see below for foreign prices/postage)

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

please include a note with your order listing what you’re ordering and your mailing address….thanks!

JOSHUA album cover 2018 corrected

Welcome back to everyone, now that our sojourns to Oklahoma and to Philadelphia/NY/MA are over. KSE will have two new albums here in July (this one and a duo album from Alfred 23 Harth/Nicola L. Hein) and then two new albums in September (duo albums from Takuji Naka/Tim Olive and from Robert Horton/Lisa Cameron)–we’ll then have three final albums for 2018 in Nov/Dec, two of them from established KSE artists, and one by a gentleman new to the label from Australia….stay tuned!

As I’ve been listening over-and-over to our recent (and forthcoming) albums from Austin percussionist Lisa Cameron in the past few days, it’s become quite clear that we at KSE love music that is both primal and cutting-edge, both deeply rooted in the earth and flying through the stratosphere, music that has a kind of beyond-time “spiritual” presence and which stands up to hundreds of listens over multiple years and decades, music that is based on a less-is-more aesthetic where the infinite variations possible from utilization of seemingly “simple” elements are deeply explored, music that is recorded close-miked to best capture subtleties of texture.

You certainly get those qualities in spades in this new album from the CONTEMPORARY SHAMISEN DUO of RYOTA SAITO and JOSHUA WEITZEL. In terms of the intimacy and almost-telepathic duo-union of the players, I can only compare this music to the FACE TO FACE-era Spontaneous Music Ensemble duo recordings, though Saito and Weitzel bring very different cultural backgrounds to the table than the SME. The five beautiful and languid pieces of sound sculpture are full of textural variety and tension, and the many kinds of extended techniques used on the shamisen (which starts with blowing, scraping, bowing, etc. and goes way beyond) will have you thinking there are more sound sources than two shamisen instruments. The artists can describe what’s going on here much better than I can, so let’s let them….

————————————————-

Joshua Weitzel kindly provided the following notes for the album and artists: 

Contemporary Shamisen Duo is Ryota Saito and Joshua Weitzel, both on Chuzao-Shamisen. Together, they develop a language for the Shamisen in the 21st century, making extensive use of preparations and extended playing techniques. They developed their individual aesthetics of using the full dynamic range of the shamisen, including as quiet as possible by playing very close or even within the audience. The outcome is contemporary chamber music that draws from the rich tradition of experimental music in Japan and the western world. Saito and Weitzel met by chance in Berlin in 2013 and started collaborating in 2014. Genpatsuryoku is the result and documentation of many sessions in Osaka (Juso) and Kyoto (Shugakuin) from summer 2016 to 2017.
 
Ryota Saito is a Tokyo-Based Kouta-Shamisen master. After graduating from music school he started as an improvising guitarist and saxophonist before dedicating himself to the shamisen and undergoing formal training in kouta shamisen, becoming a certified performer. He has, among others, appeared in Mitsukoshi Theatre and National Bunraku Theatre.
 
Joshua Weitzel is a guitarist and shamisen player from Kassel, Germany, who is working in the field of contemporary experimental music, improvisation and Jazz. is work is work is based on deep exploration of dynamics, materials and contrasting parameters. He is currently based in Kassel, Germany where he is also active as a concert organiser.
——————-
This album is quite satisfying and totally fresh….a great way to start the summer of 2018! Get YOUR copy now! We’ll be sending out review copies and radio station copies in the next two weeks….
KSE #402 (CDR), CONTEMPORARY SHAMISEN DUO (Ryota Saito/Joshua Weitzel), “Genpatsuryoku”

NOTE: ALL FULL-SIZED 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 $13.75 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 books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Also available from KSE:

KSE #400 (CDR), ALFRED 23 HARTH / NICOLA L. HEIN, “When The Future Was Now”

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to),” solo percussion

KSE #396 (CDR), MASSIMO MAGEE, “Tenor Tales,” solo tenor saxophone

KSE #395, BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR) ERNESTO DIAZ-INFANTE, “The Lovers Escape/Los Amantes Escapan” solo nylon string classical guitar

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP (Lisa Cameron, Robert Horton, Raub Roy, Lee Ann Cameron) , “The Frisbee Sessions” 

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)

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

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

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

Ordering is easy….just send me an e-mail at django5722(at)yahoo(dot)com telling me what items you’d like and what country you are in (so I can figure cost) and tell me what e-mail address you’d like a paypal invoice sent to, and I’ll have it off ASAP. Orders are usually shipped within 48 hours of payment being received.
Thank you for your support of KSE, now in our 13th year of operation!
All previous poetry chapbooks are now sold out. Thanks to those who grabbed them in April-June while they were still available….we are very proud of them and hope you have a long and happy life with them! I’ll have TWO full books of poems coming out later this year….CULTURE OF COMPLIANCE (with Michael Casey) and SCULPTURE GARDEN IN THE SNOW (containing the pieces read on the CDR spoken-word album of the same name, listed above).
————————————–
Here are some further comments from Mr. Weitzel on the Shamisen and the Contemporary Shamisen Duo:

Shamisen is a Japanese three stringed spike-lute. It originated in China, where it is still existing in a contemporaty version called Sanxian. From there, it was brought to Okinawa which was an independent country until the 19th century and developed into the sanshin, a short, snake-skinned version that is still the backbone of Okinawan traditional music. It arrived in West Japan in the 17th century, where it was adopted by local musicians guilds. There, the snakeskin was replaced with dog- or catskin and the large plectrums called Bachi came to use. Depending on the style and origin, many forms of shamisen exist with different fields of use. Most prominent nowadays is Tsugaru Shamisen, which originated in the 19th century in the very north of Japan. Instruments there are larger but played with a very light Bachi. Kabuki theatre relies on a choir of sharp-sounding, smaller sized shamisen. Gidayu Shamisen is used for narration in traditional theatre and utilises very bold and large plectrums and instruments. Jiuta (a sort of chamber music) and Kouta (Bourgeois songs) are played on mid-sized Shamisen such as Saito and Weitzel use.

Contemporary Shamisen duo seeks to break the boundaries of Shamisen tradition by using Bachi, bridges, tunings and techniques from all accross the spectrum of shamisen music together with newly developed extended techniques.
JOSHUA album cover 2018 corrected

 

May 13, 2018

off to Oklahoma for two weeks of poetry work…

Filed under: Uncategorized — kendrasteinereditions @ 11:41 am

My former home state of Oklahoma has been calling, and I’ve decided to answer the call.

shawnee 2

For the last 10-12 years, each May or June while I’m off work, I have taken a 10-14 day “writing vacation” when I work exclusively on poetry. I have the titles, the key lines and repeated refrains, the image patterns, and the overall architecture of the pieces done in advance, but I assemble them and create the mortar (spiced with the local color and particulars of where I’m at) in which to set the pieces of poetic stone during this intensive writing period. Friends who are composers or visual artists or whatever will often go to Marfa or the Texas Hill Country or some other evocative place for working art vacations similar to what I do. Mine have tended to be on the Gulf Coast or in Louisiana (and many of you have read the poems coming out of those trips….if not, go to Amazon now and purchase a copy of DOWN AND OUT IN GULFPORT AND BILOXI or BRIDGE ON THE BAYOU!), though they’ve also included other destination such as Pittsburgh (multiple times) and the NY Hudson Valley.

shawnee

Some of the best years of my life were spent in Oklahoma….I first made the acquaintance of many of you reading this through my Inner Mystique ‘zine and label in the early 1980’s, and that was in my Oklahoma period. I met the mother of my children in Oklahoma and we were married there. Actually, we might have stayed in Oklahoma had we both been able to get decent jobs there when she finished graduate school, but we could not, so we moved to Virginia….and entered a new chapter of our ongoing saga.

shawnee 3

During the six years I spent in the Stillwater area, when I wanted to go to the “big city,” the choices were Oklahoma City, Tulsa, and Wichita, all still fine cities I try to visit every few years….so spending the 2018 writing vacation in Oklahoma City will be a treat.

shawnee 4

KSE will be closed from 14 May-28 May….any orders during that period will be shipped on 29 May when I return….and PLEASE feel free to order the wonderful new releases from MASSIMO MAGEE (solo saxophone) and DANE ROUSAY (solo percussion) during that period. Also, many of the 2017 remaining releases are pretty much sold out now (only a few copies left, so get your order in through Paypal ASAP to score copies) and will be deleted upon my return. And the older poetry chapbooks of mine are almost gone….the lower the number, the more likely it will be deleted soon. As always, thank you for your support of KSE and of my work over the decades. I will send you all positive vibrations and warm wishes from central Oklahoma during the second half of May!  BILL S.

ponca city

May 7, 2018

BUTY-WAVE IS NOW CLOSED FOREVER, Photos by Wyatt Doyle (New Texture Books)

Filed under: Uncategorized — kendrasteinereditions @ 3:47 pm

BUTY-WAVE IS NOW CLOSED FOREVER

photos by WYATT DOYLE

(New Texture Books, published November 2017)

order a copy from    http://amzn.to/2F7FSGc

BUTY cover

Beautiful and breath-taking and thought-provoking accidental juxtapositions are to be found everywhere, including one’s own neighborhood. That haphazardly-constructed brick wall behind the janitorial supply store across the street, where I walk the dog, seasoned by age and the elements and vandals, when viewed with the eye with which one would view one of those three-dimensional 1990’s Melville-inspired artworks by Frank Stella becomes something infinitely fascinating….and something ever-becoming because of sun and shadow and atmosphere.

To me, if there’s a “message” to the work of a John Cage or an Andy Warhol (and I had the opportunity to tell Mr. Cage this personally when I was able to speak with him for about 20 minutes circa 1990 in Virginia), that’s it—-Take off the blinders, throw out routine and habit and looking past what’s there in front of you…open up all five senses , and the sixth sense of intuition, and treat each moment as if you are in some kind of immersive installation. Eventually, you will not have to consciously make that decision anymore–it will become a new norm for you.

BUTY WAVE 2

The photography of Wyatt Doyle fulfills a similar function. You may (as I do) live in a neighborhood with boarded-up fast-food restaurants, three-quarters empty strip malls built during the heyday of the S&L scandal in the 1980’s, juvenile delinquent tagging of walls, and perpetually un-rented billboards full of weather-beaten signage from years ago which is pretty much unreadable and also making reference to events and phenomena long forgotten–but there is an austere and melancholy beauty there, aged like a quality bourbon, “distressed” like a $300 pair of jeans the boss-man’s daughter might buy on a whim.

BUTY WAVE 3

Doyle’s eye and his camera’s eye  capture those moments of junk-store epiphany, of accidental revelation, which lurk un-noticed in the most taken-for-granted parts of everyday run-down America.

Every small business is the coming-into-reality of someone’s dreams, like a real-life Field Of Dreams, whether it’s breakfast tacos being sold, massages being offered, transmissions being repaired, or graduation photographs being taken. The failure of each business–and the majority of small businesses do not make it five years–is truly something tragic, in the Theodore Dreiser sense of the word, and Doyle’s photographs which incorporate the abandoned and the unprofitable once-new businesses which pepper the American environment somehow capture that energy and enthusiasm in their depiction of what the shells of those hopes and dreams have become. It’s a scalded and beaten-down beauty, but the beautiful core remains. Buty-Wave may be closed  forever (and that “forever” on the sign speaks volumes, doesn’t it?), but it radiates permanently now, grown from the soil of its original environment through the Doyle photograph.

BUTY WAVE 4

When Doyle’s photographs include people (and there are portraits of such diverse characters as Reverend Raymond Branch, Carl Ballantine, Ray Bradbury, and Georgina Spelvin, although most of the book’s photographs feature environments without people), they somehow let down their guard for him and the portrait is both rich and spontaneous—-neither the studied faux-spontaneity of Richard Avedon’s portraits nor the self-consciously documentary eye of a Walker Evans (and I adore the work of both men), but something different and unique, something 100% Wyatt Doyle.

BUTY WAVE 6

When Mary Anne and I travel through the small towns of the Midwest and the South, towns where half of the main street is abandoned and what’s left are payday-loan outfits, yoga studios, and on-their-last-legs local merchants not yet put out of business by Amazon and/or Wal-Mart, we often see scenes and images that remind us of Wyatt Doyle’s photography. He has helped us—-and his work can help YOU, dear reader–to acquire and use that EYE which puts everything into DEEP FOCUS.

BUTY WAVE 7

Fifty years from now, people will be looking at these photographs as synecdoches of our age—-why wait!

Mr. Doyle is involved at any particular time in many projects, and you can read about some of them here:  https://www.facebook.com/newtexturebooks       His photography, his fiction, his editorial and publishing projects–whatever he’s involved with possesses the same unique, insightful, elegant, and 100% American qualities. This rich and haunting new book of photography is an excellent place to start in your exploration of the man’s work. It comes in an inexpensive paperback edition, and also for just a few dollars more a hardcover edition with 15 extra photographs….This book helps us find the permanent and the valuable in the temporary and the seemingly disposable. What more could one ask? Get your copy now….http://amzn.to/2F7FSGc

BUTY cover

April 28, 2018

new spoken-word poetry album, “Sculpture Garden In The Snow,” from Bill Shute (KSE #395)

Filed under: Uncategorized — kendrasteinereditions @ 8:03 pm

new spoken-word poetry album, “Sculpture Garden In The Snow”

from BILL SHUTE  (KSE #395, cdr album)

Recorded by Marcus Rubio  in Austin, Texas

Poems composed 2015 in TX, LA, FLA

 selections:

SATORI IN LAKE CHARLES

FLAGS NO LONGER AT HALF-MAST

INVENTING  ONE’S  OWN  LAND

MANIPULATING AMBIGUITY

SCULPTURE GARDEN IN THE SNOW

MONUMENTAL MOVEMENTS

LIARS IN A STRANGE RAINY WORLD

“Silence is my substitute for counterpoint”      –Morton Feldman

Album is $8 postpaid in the US–see below for ordering details.

(PLEASE NOTE–KSE WILL BE CLOSED MAY 14-MAY 28, 2018)

sculpture garden CDR

Recorded the same day as the earlier BRIDGE ON THE BAYOU album, this new collection SCULPTURE GARDEN IN THE SNOW contains seven pieces, all written in 2015 and NOT part of any multi-poem sequences. Each was published in 2015-2016 in a small edition of around 40, and each sold out in a few months. Three of them were “cassette poems” pieces, inspired by experimental music on cassette from Derek Rogers, Brian Ruryk, and Smokey Emery.

These readings present the pieces the way their author hears them, and the recording environment–with the sounds of construction and Tejano music from the street as well as the paw-percussion of Pierre The Dog–is somehow perfect for the material, open-field poems constructed from the flotsam and jetsam of daily life.

If you’ve seen me read or have heard the other spoken-word albums, then you know what’s in store. If not, you can listen to some pieces recorded in Pittsburgh a few years ago. Here’s one of them,  https://youtu.be/8eTUJPU_eqI    ,     OUTFAKE, from 2013.

Mary Anne and I will be in the Northeast in June, and I’ll be doing a poetry reading with Michael Casey at White Square Books in Easthampton, MA, on Friday 22 June at 7 p.m. If you are in the greater Amherst area, please stop by!

The pieces on this album will be republished later this year into a perfect-bound 8″ x 11″ collection also called SCULPTURE GARDEN IN THE SNOW. I’ve had a number of positive communications from people who got the BRIDGE ON THE BAYOU spoken-word album and then the BRIDGE ON THE BAYOU book–experience the words on the page while you listen to my reading. I hope to have that book ready by late Summer. Until then, take a listen to the readings. Regular KSE people may well have a number of the original chapbooks already, so you can read as you listen.

By the way, you can order that BRIDGE ON THE BAYOU collection from Amazon via this link:   http://amzn.to/2jxJaZc

Why not enjoy some of our acclaimed albums of contemporary experimental music alongside your poetry?

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.

now available for immediate shipment:

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to)”, solo percussion

KSE #396 (CDR),  MASSIMO MAGEE, “Tenor Tales,” solo tenor saxophone

KSE #395 (CDR), BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR), ERNESTO DIAZ-INFANTE,  “The Lovers Escape/Los Amantes Escapan”

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

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)

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

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You can also add any of the following poetry chapbooks to a CDR order for only $5 each:

KSE #393 (poetry chapbook), BILL SHUTE, “Arising, Abiding, and Decay”

KSE #391 (poetry chapbook), BILL SHUTE, “Satori In Natchez”

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”

As always, thank you for your support of KSE and of all independent arts organizations.

April 13, 2018

solo percussion from DANE ROUSAY (KSE #398), “An Inevitable Solution (To)”

Filed under: Uncategorized — kendrasteinereditions @ 7:31 pm

dane 2018 cover

DANE ROUSAY (solo percussion)

“AN INEVITABLE SOLUTION (TO)”

KSE #398, cdr album      $8.00 postpaid in the USA (see below for foreign prices/postage)

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

please include a note with your order listing what you’re ordering and your mailing address….thanks!

Very happy to welcome San Antonio’s own DANE ROUSAY back for a second percussion-based album. The first one ANATOMIZE (KSE #373, now out of print) was composition based, but with a lot of room for individual decisions and spontaneity by the players. This new album, AN INEVITABLE SOLUTION (TO), is improvisational, but Dane’s improvisations (like those of label-mate Massimo Magee–and by the way, the two of them are hoping to perform together in London later this year!) are rigorous yet playful investigations of the possibilities of the instruments. The five solo percussion pieces on this album are not unlike the material Dane performed in the amazing four-hour ‘Endurance’ performance done earlier this year on the bank of the San Antonio River behind Ventura. With the artist’s demanding schedule of live performance throughout Texas and the Midwest, ideas are able to be road-tested on a nightly basis, and new elements work their way into the percussion through the influence of many and varied collaborations in demanding live performance.

I’m someone who grew up listening to a lot of percussion music–the many pieces for percussion by John Cage; all-percussion albums such as “Schlingerland” by Sven-Ake Johansson and “Fiesta In Drums” by Christian Vander and Frank Raholison were LP’s that I played the grooves off of, not to mention the percussion onslaughts of Rashied Ali and Sunny Murray, and the avant-chamber-jazz percussion of Barry Altschul with Paul Bley’s group. Many times when I’d be listening to an Archie Shepp album for the umpeenth time, I’d be focusing on the drumming of Beaver Harris. And as a lifelong Ellingtonian, I still marvel at the unconventional and totally original playing of Sonny Greer on countless sessions and broadcasts. Fortunately, KSE has been able to offer a platform for percussionists and composers-for-percussion. Lisa Cameron has done at least a half-dozen albums for KSE, early in our run we were proud to have issued an album by Sarah Hennies (whom Mary Anne and I used to see often doing solo percussion in Austin, in the 2007-2011 period–she also appeared on the KSE 10th Annivesary album) and just last year we featured solo percussion albums from both Dane and John Bell. The Bell album is still available (grab one–see ordering info below). Yes, we at KSE believe in the beauty and the infinite possibilities within the world of percussion.

This album very much speaks for itself, and Dane’s comments on it were brief: “This set of recordings is improvised almost entirely and has a certain thoughtfulness and immediacy behind it. I do not believe a composed album of any sort would be able to capture the emotions and emotional release that I feel this album grew from and provides (for the listener). ”  Agreed! This is an album you can just put on repeat (you’ll lose all sense of time while living in its world) and live with…and live within.

The intensity of a Dane Rousay live performance is captured well here, but at the same time it’s a great-sounding and deep studio recording, so you’ve got the best of both worlds.

Speaking of live shows, Dane will be all over in the next few months with all kinds of combinations of collaborators. Catch them when they’re in your area. Here’s a tentative list (be sure to check with the venue first in case of changes….or check Dane’s Facebook page):

4/23/18 – Dane Rousay / Brandon Lopez / Ingebrigt Håker-Flaten @ Volstead Lounge (Austin, TX)

4/24/18 – Dane Rousay / Brandon Lopez @ Ventura (San Antonio, TX)

4/25/18 – Dane Rousay / Megan Easley / Dave Dove w/ Brandon Lopez @ Alabama Song (Houston, TX)

4/26/18 – Dane Rousay w/ Brandon Lopez @ Full City Rooster (Dallas, TX)

4/27/18 – Dane Rousay / Brandon Lopez @ Layalina (Denton, TX)

4/28/18 – Dane Rousay / Brandon Lopez @ Matador Recording Studios (San Antonio, TX)

5/9/18 – Dane Rousay @ Opolis (Norman, OK)

5/10/18 – Dane Rousay / Michael Foster Duo @ Duet (St. Louis, MO)

5/11/18 – Dane Rousay / Michael Foster Duo @ The Spot (Lafayette, IN)

5/12/18 – Dane Rousay / Michael Foster Duo @ Listing Loon (Cincinnati, OH)

5/13/18 – Dane Rousay / Michael Foster Duo @ Betty’s (Nashville, TN)

5/14/18 – Dane Rousay / Michael Foster Duo @ The Nest (St. Louis, MO)

5/15/18 – Dane Rousay @ State Street Pub (Indianapolis, IN)

5/16/18 – Dane Rousay @ Lalaland (Fayetteville, AR)

5/28/18 – Dane Rousay / Thomas Helton @ Volstead Lounge (Austin, TX)

7/19/18 – Dane Rousay / Vicky Mettler @ Ventura (San Antonio, TX)

8/16/18 – Dane Rousay / Parham Daghighi @ Sonic Transmissions Festival (Austin, TX)

You can get a copy of the album from the artist while on tour, but why wait….order YOUR copy of AN INEVITABLE SOLUTION (TO) now direct from KSE….and pick up a few other of our fine albums of contemporary experimental music (or poetry) while you’re at it. See below for ordering info….

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.

now available for immediate shipment:

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to)”, solo percussion

KSE #396 (CDR),  MASSIMO MAGEE, “Tenor Tales,” solo tenor saxophone

KSE #395 (CDR), BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR), ERNESTO DIAZ-INFANTE,  “The Lovers Escape/Los Amantes Escapan”

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

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)

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

As always, thank you for your support of KSE (now in our 13th year of operation!) and of all independent arts organizations….and thank you for buying a physical copy of this album. We believe in not only the work, but the work as preserved through the artifact, whether it be CDR albums or poetry chapbooks (all hand-cut, hand-assembled, home-made)

dane 2018 cover

April 7, 2018

new solo album from MASSIMO MAGEE, “Tenor Tales” (KSE #396)

Filed under: Uncategorized — kendrasteinereditions @ 8:21 pm

MASSIMO MAGEE, Tenor Tales (KSE #396, CDR album)

Massimo Magee – Tenor Saxophone

01 Retcon         02 Balm

03 Garret           04 Assay

05 Hinge          06 Raw

07 Furtherance        08 Defy

$8 postpaid in the USA (see bottom of post for foreign rates/postage)

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

please include a note with your order with your mailing address and what you’re ordering…thanks!

massimo 2018 cover

Saxophonist–composer–theorist  MASSIMO MAGEE  is back at KSE with a new album of solo saxophone creations, 8 sound sculptures all rooted in the tenor saxophone. As usual for Magee, each piece is a rigorous improvisational investigation of a certain sound-area, ranging from lyrical passages worthy of a Ben Webster to overblowing and harmonics to various extended techniques to a track that sounds like it utilizes a contact mic….covering a wide range, but beginning and ending with “pure” saxophone.

The solo saxophone has inspired a wide and rich and diverse body of work over the decades, ranging from Coleman Hawkins’ 1945 solo 78 “Picasso” through the 1970’s works of Steve Lacy, Anthony Braxton, Roscoe Mitchell, and others, taking off into the stratosphere with the Micro-Saxo-Phone albums of Magee’s mentor (and KSE recording artist) Alfred 23 Harth. Whether or not you’ve been following Magee’s work through his KSE albums and/or his live performances and/or his writings, you’re sure to find this album satisfying if you’re interested in the possibilities of the tenor saxophone. Although there is a wide variety of sound on the album, it’s all ROOTED in the tenor saxophone, hence the album’s title, TENOR TALES. About that title, Magee wrote (when we were working out the details of the album a few months ago), “I’ve decided that it makes more sense to credit myself simply with ‘Tenor Saxophone’ here, as the extensions are just new ways of approaching the one instrument. I try to take the whole field of the instrument’s potential as material to build with in these improvisations.”

Mr. Magee has been winning new listeners with each of his KSE albums, and many worldwide  await each of his new releases. As Brad Kohler texted me after hearing  Magee’s first KSE album which came out a number of years ago, “sign that man to a long-term contract!”

I expect that TENOR TALES will be getting the kind of airplay and positive reviews his previous albums have. Get YOUR copy now. It’s a stunning creation and truly timeless….

and while you are at it, why not grab some of our other recent album releases on CDR:

KSE #398 (CDR), DANE ROUSAY, “an inevitable solution (to)”, solo percussion

KSE #395 (CDR), BILL SHUTE, “Sculpture Garden In The Snow: Bill Shute reads selected 2015 poems,” spoken-word poetry album

KSE #387 (CDR), ERNESTO DIAZ-INFANTE,  “The Lovers Escape/Los Amantes Escapan”

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” w/ Lisa Cameron, Robert Horton, Raub Roy, Lee Ann Cameron

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)

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

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.

As always, thank you for your support of KSE, now in our 13th year of operation. Best wishes to all from our home base in beautiful San Antonio, Texas.

————————————————————————————–

For anyone living in Western Massachusetts or the NY Hudson Valley, I will be doing a poetry reading (with Michael Casey) at White Square Books in Easthampton, MA (not far from Amherst) on Friday night 22 June at 7 pm. Would love to see you all there!

March 16, 2018

KSE Spring 2018 update

Filed under: Uncategorized — kendrasteinereditions @ 10:28 am

KSE passed the 12 year mark on March 1, 2018, so we’re now in our 13th year of operation! Many thanks to the poets, composers and musicians, artists, customers (especially the customers!), reviewers, bloggers, pod-casters, radio programmers, and well-wishers who have helped us stay afloat through nearly 400 poetry and music releases (we’ll hit 400 this summer, and I’ve already saved that number for the new album from Alfred 23 Harth!).

APRIL 2018 will bring the first two new music releases of the new year. First is a solo tenor saxophone album from MASSIMO MAGEE, “Tenor Tales” (KSE #396)–new investigations of rarely traveled tenor territories with a master guide.

massimo 2018 cover

The second new release for April is a solo percussion album from San Antonio’s own DANE ROUSAY.  Dane has been very active in the last year or two with live performances and collaborations across the Midwest and the south, but took the time while in St. Louis to document this beautifully recorded solo percussion album, an album which like Massimo Magee’s, investigates fascinating territories in a way that’s both playful and methodical. If you’ve seen any of Dane’s solo percussion performances in the last 8 months (such as the four-hour “Endurance” set down by the San Antonio River), you’ll appreciate the documentation of this phase of their work.

dane 2018 cover

In Feb/March, we issued a new collection of ten poems by JOHN SWEET, “Heathen Tongue” (KSE #392), a poet with an original voice that cuts like a knife and also a great sense of understatement and craft. His poems are disquieting and the perfect mirror of this sorry age in which we live. Response has been excellent on this one–get your copy now.

heathen cover

Prior to that, we finished off the Winter 2017/2018 releases a bit later than planned, with the final three coming out in January. These have been getting airplay and reviews both in North America and in Europe, and I’ve received a number of enthusiastic e-mails from folks who have been playing them day and night. They are

KSE #387 (CDR), ERNESTO DIAZ-INFANTE,  “The Lovers Escape/Los Amantes Escapan”

ernesto lovers_0001

KSE #383 (CDR), MORE EAZE, “Staring At A Statue of Paint”

more eaze 2017 paint

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

LISA XTERIP COVER SCAN

You can find write-ups on all those albums here on the blog….just enter them into the search box.

On the poetry front, there are probably 8 or 9 of my own chapbooks available presently, including the seven volumes of the Natchez Poems and other pieces such as LEFT-HANDED CHERUBS and TRIMMINGS…

ARISING cover

In the second half of May, I will be taking my annual “writing vacation” for two weeks, this year in Oklahoma City. I’ve got notes and image patterns and structural plans for seven more of my six-page open-field poetry creations, so I’m looking forward to that precious time…and in my second home, the great state of Oklahoma! KSE will be closed for business the second half of May.

And then in the second half of June, Mary Anne and I will be back East, in Philadelphia, New Jersey, New York, and Western Massachusetts, and I’m proud to announce that I’ll be doing a poetry reading with MICHAEL CASEY at WHITE SQUARE BOOKS in Easthampton, MA, on Friday night 22 JUNE at 7 p.m. My last reading in that area (also with Mr. Casey!) was in 2011 at Flying Object Books. In addition, there will be a joint Casey-Shute poetry book coming out from a local press from the area (can’t announce the specifics on this yet, alas), done in the old “69” format with half  the book Casey and half the book Shute. VERY excited about that. KSE will be closed for business the second half of June also. Here’s the lovely space where we’ll be reading:

white square

KSE will be back with two rounds of new music releases in the Summer and Fall of 2018, with the first wave coming in July-August. There will be a number of artists new to the label releasing albums in 2018, as well as a solo album from an artist who’s only been part of a duo here before. Experience has taught me to not announce the specifics of such future projects until all the details are worked out and the master is in my hand, but trust me, there will be a lot of exciting music coming from a number of up-and-coming artists working out of North America, Europe, and Asia. Stay tuned…..

I have not been writing much here on the blog outside of the release announcements—-there are a number of half-completed pieces on music and literature and film and the like, but I have not had time to finish them. Of course, my job keeps ramping up the workload, which requires me to take home a significant amount of work each night, and also I’ve been writing and publishing very regularly in other places: I’ve been averaging 6 or 7 reviews in each issue of Ugly Things, and I pretty much have a weekly piece coming out at Blog To Comm. The latter tend to be film and comic book and/or comic strip reviews, though some of the comic book reviews have a significant  “faux memoir” angle to them, which allows me to find new ways to investigate questions of narrative point-of-view and persona and also work in the world of fiction without really working in the world of fiction.  You can read one of those hybrid pieces here: http://black2com.blogspot.com/2018/03/comic-book-review-by-bill-shute-danger.html#links

I have been contributing to both UT and BTC since the 1980’s, and while it’s a very different kind of writing than my poetry (or the pieces I do on film or music here at the KSE blog), it allows me to reach a much larger (and quite different) audience and to champion and educate people about work which is important to me. UT does not give away content free online (neither does KSE–we are hard copy people), but you can always purchase the latest issue at http://ugly-things.com/  

And of course there is always a small notebook in my back pocket for poetry notes, and those notes get organized and edited and incorporated into a larger notebook kept at home, and those notes eventually become the poems you read (or listen to on a spoken-word CDR or at a reading).

CAMPANULA

In addition, my poetry is featured….both in written form and in spoken form….on the exciting new album CAMPANULA by ALFRED 23 HARTH and JOHN BELL, on the Moloko Plus label from Germany. I also wrote the liner notes for this AND all track titles are taken from lines of my poems! You can read about the album and order it here: http://www.molokoplusrecords.de/finder.php?folder=Label&content=63

People sometimes ask me, “what have you learned from this KSE venture,” and my answer to that is THE FUTURE IS NOW!      Grab it, and channel that energy that is all around you into what you desire to make exist in your chosen area of creative work, bend and shape that energy the way a glass-blower bends and shapes their creation. Life is short.

Check back in a few weeks for the new April KSE releases from Massimo Magee and Dane Rousay….and if you are in Western Massachusetts or in the NY Hudson Valley, consider stopping by the Casey-Shute reading on June 22 in Easthampton, MA (not far from Amherst).

Remember, there is ALWAYS a pinned post at the top of the front page here with a listing of what albums and chapbooks are presently available, along with convenient ordering instructions. It gets updated at least once a month….if it’s on there, it’s available….if it’s not on there, it’s out of print.

Hoping 2018 is a satisfying and productive year for all of you….

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