Kendra Steiner Editions

August 21, 2017

all KSE music releases deleted

Filed under: Uncategorized — kendrasteinereditions @ 1:40 pm

As of Friday 7 December 2018, all KSE albums are deleted. All standing orders were fulfilled on 12/7/2018 and are now in the mail. Inventory will not be replenished, and orders will no longer be accepted. Thanks for your support through 400+ music and poetry releases since March 2006.

The KSE imprint will still be used for book-length poetry works of mine which will be manufactured and distributed by the KDP subsidiary of Amazon and available internationally. There are presently five KSE poetry books by Bill Shute available there: DOWN AND OUT IN GULFPORT AND BILOXI; BRIDGE ON THE BAYOU; SATORI IN NATCHEZ; SCULPTURE GARDEN IN THE SNOW; and AMONG THE NEWLY FALLEN. In 2019 there will also be a 300+ page collection of prose pieces (reviews, columns, essays, etc.) called NERO’S MOTHER MEETS THE PHANTON GUNSLINGER. Three of the five are also available as E-books on Kindle. The KSE blog (which you’re reading now) will be more active than ever soon with more pieces on film, art, books, music, etc. Please bookmark it and check back every few weeks. The time has come to turn the page, and I hope you’ll continue on this journey with us–KSE HAS NOT DIED; IT HAS EVOLVED INTO ANOTHER INCARNATION….

I will also continue to write for BLOG TO COMM on a bi-weekly basis and to write about music for UGLY THINGS magazine, both of which I’ve done for 30+ years. Also in 2019, Moloko Print in Germany (the publishing arm of the Moloko Plus label) will publish a 96-page Selected Poems volume of mine called JUNK SCULPTURE FOR THE NEW GILDED AGE, which should be widely available (by KSE standards!) in Europe and is an excellent introduction to my poetry. Watch for it.

Thanks to all those poets, musicians & composers, artists, reviewers, bloggers, radio broadcasters, and most of all customers who supported KSE in the 2006-2018 period. We had a good run. We also created a sense of community internationally, and those connections remain, and people are building on them….

TIM OLIVE 2018.LISA AND ROBERT 2018 COVER

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


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November 18, 2018

new album from TAKUJI NAKA & TIM OLIVE, “Quince” (KSE #397)

Filed under: Uncategorized — kendrasteinereditions @ 12:16 pm

TAKUJI NAKA & TIM OLIVE

“QUINCE” (KSE #397, CDR album)

Quince (26:08)

Takuji Naka: tapes, electronics

Tim Olive: magnetic pickups, electronics

Recorded on April 29, 2016 by Erhard Hirt at Black Box (Munster), and Nov. 25, 2017 by Kota Uematsu at Soto (Kyoto)

cover image by Tim Olive


As of Friday 7 December 2018, all KSE albums are deleted. All standing orders were fulfilled on 12/7/2018 and are now in the mail. Inventory will not be replenished, and orders will no longer be accepted. Thanks for your support through 400+ music and poetry releases since March 2006.

TIM OLIVE 2018

statement from Tim Olive on Quince: 

The music here is taken from three live recordings, sections of which were very minimally edited, then overlaid/superimposed, like disparate see-through transparencies from an old encyclopedia. Sounds which were spatially and temporally very distant align, then shift and realign, like multiple planetary systems passing through each other.
The cover image uses a somewhat similar, though much simplified, technique, in which two photo negatives are superimposed. The original photos were taken at a festival at Shitenno-ji in Osaka.
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KSE’s previous album from TIM OLIVE, “Zanshi” (w/ Samuel Dunscombe, KSE #371) was a listener favorite and constantly playing here at KSE headquarters, so we invited Mr. Olive to create a second duo album for us….and QUINCE is it.

Imagine you are immersed inside a 26 minute unit of time , taken shape as a four-dimensional chunk of molten metal in the middle of a busy foundry—-Naka and Olive sculpt that elasticized sizzling metal, offering the listener a rich array of textures and juxtapositions, as we swim among  the ever-becoming subtleties, bordered on all sides by ante-chambers of negative space. In fact, any location/environment where you play this album (including inside your head, if you’re on headphones/ear-buds) becomes an installation. It’s a beautiful creation, which one can approach from an infinite number of angles of entry.

 

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Takuji Naka has toured in Europe, Australia and New Zealand, playing with many artists including Jason Kahn, Carl Stone, Tim Olive, Takahiro Yamamoto, Anthony Guerra and Pascal Battus. Living in Kyoto, he regularly organizes concerts and is a member of the free noise band Culpis . He launched the “akuseku”  record label in 2013.

The music of Tim Olive arises from collaboration with fellow musicians/sound artists, collaboration with physical and temporal setting, and collaboration with those involved in the act of listening. Using simple materials (including magnetic pickups, steel strings, tuning forks, metal strips, hand-wound motor mechanisms, magnetic tape, dental floss and analog electronics), Olive’s work is predicated on the interplay of the human with material/time/space, and the uniqueness, intensity and unrepeatability that lives in each performing and/or recording situation. 

He is interested in music as a social activity, as a way of creating community, a way of countering the forces which lead to an increasing atomization of contemporary life; music as a felt experience rather than as a concept or a theory. 

A Canadian residing in Kobe, Japan, Olive has released music on Japanese, European and North American labels, with Jeff Allport, Cristian Alvear, Pascal Battus, Alfredo Costa Monteiro, Samuel Dunscombe, Nick Hoffman, Anne-F Jacques, Jin Sangtae, Jason Kahn, Takahiro Kawaguchi, Yukinori Kikuchi, Francisco Meirino, Katsura Mouri, Takuji Naka, Bunsho Nishikawa, Makoto Oshiro, Ben Owen, Horacio Pollard and Fritz Welch

Olive has performed/recorded in Asia, Australia, Europe and North America, with the recording collaborators listed above, as well as with Akiyama Tetuzi, Maria Chavez, Che Chen, Kelly Churko, Joda Clement, crys cole, Chris Dadge, Joe Foster, Haco, Hong Chulki, Bonnie Jones, Doreen Girard, Nicola Hein, Richard Kamerman, Kostis Kilymis, Siew-Wai Kok, Madoka Kouno, Tomasz Krakowiak, Fangyi Liu, Cal Lyall, Toshimaru Nakamura, James Rushford, Carl Stone, Sound of the Mountain, Nate Wooley, Jared Xu and Yan Jun.

In addition to organizing events in Japan, Olive runs the label 845 Audio.

 

Visit Takuji Naka at  http://takujinaka.tumblr.com

Visit Tim Olive at  timolive.org

 

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 #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”

 

TIM OLIVE 2018

November 3, 2018

now available in paperback and on Kindle…SCULPTURE GARDEN IN THE SNOW, selected 2015 poems by BILL SHUTE

Filed under: Uncategorized — kendrasteinereditions @ 9:54 am

Proud to announce a new collection of seven long-out-of-print KSE chapbooks of mine from 2015, SCULPTURE GARDEN IN THE SNOW. A collection of pieces that are not part of any larger sequence of poems. Included are

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

Three of these were from the “Cassette Poems” sequence, where I used experimental music from cassettes by artists such as Derek Rogers and Brian Ruryk and Smokey Emery (Daniel Hipolito) as my inspiration. The book is an attractive collection in the larger 8 x 10 format of my previous paperbacks DOWN AND OUT IN GULFPORT AND BILOXI and BRIDGE ON THE BAYOU and runs 44 pages.

sculpture garden KDP book

Pictured is the paperback edition, which you can order here for $9.95 US. It’s also available from most of the European Amazon outlets as a local purchase with local postage. Here’s the link:  https://amzn.to/2zv8VkD

The book is also available on Kindle. Only $2.95….or free if you are a member of Kindle Unlimited. This is my second poetry book available on Kindle (Satori In Natchez is also). The Kindle edition has a different cover and slightly different content and organization. Here’s the link to that….and the cover is below the link:

Amzn.to/2JC6fX7

sculpture garden kindle

Many of you reading this will already own some of the seven KSE chapbooks included here in their original format (and some of those included artwork, which of course is not in the new collected edition). Here’s your chance to get all seven under one cover. Why don’t I quote from a few of the original write-ups that accompanied the 2015 releases of these as chapbooks….

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from original 2015  MANIPULATING AMBIGUITY release announcement:

As I continue to produce new works year after year, I sometimes think back to my teens and twenties, when I read voraciously the avant-garde works of the then-past, and I sometimes wonder how those works inform and find their way into the pieces I write today. As I was proofing this MANIPULATING AMBIGUITY text for publication, I was reminded of the novelist John Hawkes, especially his second novel, THE BEETLE LEG, which I read a number of times. Hawkes’s writing in that book consisted of rich poetic passages written in a post-Melville flow, passages that contained extreme close-ups which seemed on the surface to be divorced from an understandable context or continuity, but which had a kind of continuity of tone and which worked on the level of a montage sequence in a film. Hawkes later evolved into novels with a strong erotic element and which tended to be more accessible, but the early works such as THE BEETLE LEG and THE CANNIBAL still are lodged just out of reach in my long-term memory, but planted deep enough to provide me with some kind of faded set of directions which I half-remember and which I use as the base for my own literary gumbo. I’ve never been the world’s biggest Harold Bloom fan, but he was onto something with THE ANXIETY OF INFLUENCE, and the above explanation is how the process works with me. Of course, we’re talking about in many cases there being 30+ years between the reading and the influence. When I was in my 20’s and closer to the source, I tended to write LIKE the writers I admired, whether it be Kerouac or Hawkes or Stein or Richard Wright or Paul Blackburn or whatever. In a sense, the distance has made all the difference. I’ve always felt that the poetic quality in any form of writing comes out of life experience, not out of books, although literary study  can help one to interpret and spin the life experience in a more artful and precise manner. Of course, I should point out that MANIPULATING AMBIGUITY will probably not remind ANYONE of John Hawkes’s work….it’s just that something in my memory of Hawkes’s work has been mixed with my own poetic strategy, and that mixture alchemically mutates into MANIPULATING AMBIGUITY. And my poetry, like the BEETLE LEG, is concerned with the question of the title….MANIPULATING AMBIGUITY. As a poet, that’s what I do for a living. That’s the wheel which I constantly re-invent.

So….after that long digression, what do you get in this new poetry chapbook MANIPULATING AMBIGUITY?

Peanut butter flakes from the invisible empire fall from a fluffy sky, while we wear ridiculous uniforms to degrading jobs which we are happy to get, the Austin police quickly (and without calling attention to themselves) quell any potential cracks in the uniformity, the lady next door is saving up for a portion of Renewed Hope In A Jar, British clergymen are solving fictional murders in romanticized small towns, and we’re enjoying truckstop coffee and buttermilk pie on the highway to Debtor’s Prison…but hey, SLOW DOWN and DROP IT TO A LOWER KEY…

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from MONUMENTAL MOVEMENTS release announcement:

This one grew out of time spent with a vintage 1987 cassette release from BRIAN RURYK called MONUMENTAL MOVEMENTS. While I was working with Brian on the release of his recent KSE album, he was kind enough to send me some of his older cassette releases—-I would put them on repeat while I was working, and the MONUMENTAL MOVEMENTS tape really struck me with its unique textures and sound palette. Talk about poetry in sound. This then inspired me to take the music and extract poetic textures and clusters from it (or should I say that the album provided a trampoline from which I jumped to poetry heights?). Four pages of new open-field poetry and four new photographs.

One hundred false starts, kamikaze gnats, starving veterans explaining that food is overrated, maniacal Disney collectors, bosses punishing us because our reality does not match their computer model, and it’s now illegal to feed or clothe the babies thrown out with the bathwater. Mixing salt with the silver. The image disintegrates the closer one approaches.

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from original 2015  SATORI IN LAKE CHARLES  release announcement:

SATORI IN LAKE CHARLES was composed during a week’s stay in Calcasieu Parish, Louisiana in icy January of 2015. I spent the days soaking up the local culture and the nights watching the races at Delta Downs. Obviously, this is intended as a tip of the Mardi Gras hat to Jack Kerouac’s SATORI IN PARIS (already echoed in a KSE poetry chapbook in A. J. Kaufmann’s SATORI IN BERLIN), which I first read 35-40 years ago. I did not “get”on my first reading the particular Satori which Kerouac was offering in the book, but on re-reading a few years later, it became clear to me that the Satori was found EVERYWHERE when one opened oneself. One no longer needed the rare moment of special insight. Kerouac’s way of opening himself, IMHO, was the unflattering depiction of the narrative persona, who often came off as a jerk, an uncomprehending tourist, and someone who crippled himself by his excessive drinking. The clipped, vignette nature of the work provides a series of flashes of insight into a character (the narrative persona) who is not always insightful.

I had SATORI IN PARIS in mind when working on SATORI IN LAKE CHARLES, though of course, it’s not exactly Kerouac-like. In fact, looking it over after a number of months while getting it ready for publication, I was reminded for some reason of Federico Garcia Lorca’s POET IN NEW YORK…although he was in New York in 1929-1930, and I was in southwest Louisiana in January 2015.

Except for the first-person singular refrain appearing in sections 2 and 4 of this six-part poem, the narrative here is rooted in a first-person plural frame, WE and US, because after all, we breathe the same air, drink the same water, and face the same trials.

SATORI IN LAKE CHARLES is a series of energized poetic clusters of detail and experience, interrupted twice by existential, survival-based questions. It’s a log of the navigation of days. The epigraph on this one is from Jack Spicer: “Things do not connect; they correspond.” Indeed they do.

This one even ends on a note of hope, or should I say “possibility”…..the Satori of the title.

As always, it functions as a series of core samples, presented to the reader via the open-field poetic page.

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There is also a CDR album of my reading these seven pieces in the order they’re found in the book. You can find that on the KSE ordering page (if it’s still available….it might be out of print already when you read this)….then you can read along as I perform the pieces for you. I generally do one or two readings per year (I did one this June in the Amherst, MA, area with Michael Casey and then a solo reading and lecture on poetics for the faculty at a local college here in San Antonio in late October), but it’s not that likely I’ll be appearing in YOUR area anytime soon. You can always watch the poetry videos I have up on You Tube, to get an idea of my reading style. Just go to You Tube and search for BILL SHUTE and then each of the following poems: OUTFAKE, WORRIED MEN AND WOODEN SOLDIERS, LED ALONG, and SHADES OF NIGHT DESCENDING.

John Sweet’s HEATHEN TONGUE, published in March of this year and sold out months ago, was the final KSE poetry release in the original home-made chapbook format which we used for 13 years. My poems are appearing in collections from other publishers (recently there was A Series Of Lizards in the UK, Ruminant Press in Massachusetts, and in 2019, Moloko Print in Germany) and from the collections such as SCULPTURE GARDEN which are issued as perfect-bound paperbacks and on Kindle via Amazon and can be ordered easily by anyone anywhere. Thanks for your support for my own work and the various KSE releases over the years!

October 28, 2018

new album from Lisa Cameron & Robert Horton, “The Ten Thousand Things” (KSE #399)

Filed under: Uncategorized — kendrasteinereditions @ 8:56 am

LISA AND ROBERT 2018 COVER

the ten thousand things (KSE #399)

lisa cameron/ robert horton

01  the eight horizons

02  departure and return

03  the ten thousand things

04  a lifetime growing content

05  year end skies        06  seeing thru death

07  all beneath heaven

with…eli ekert- guitar (tr 5), sean potts- bass (tr 5), dan plonsey- sax (tr 7)

all other insturments and sounds

robert horton  / lisa cameron

recorded 2014   Berkeley, CA

cover art “wd7522”, by MP LANDIS

As of Friday 7 December 2018, all KSE albums are deleted. All standing orders were fulfilled on 12/7/2018 and are now in the mail. Inventory will not be replenished, and orders will no longer be accepted. Thanks for your support through 400+ music and poetry releases since March 2006,

KSE’s quartet album by XTERIP (KSE #394, “The Frisbee Sessions,” released in January 2018 and still available), featuring Lisa Cameron, Robert Horton, Raub Roy, and Lee Ann Cameron, was extremely well-received by our listenership, both here and overseas, and I received a number of texts and e-mails from people who felt that it was a deep and primal communal sound-happening which created a kind of sacred-space in sound. That encouraged us to ask Lisa and Robert to assemble a duo album for KSE, and this is it: THE TEN THOUSAND THINGS (KSE #399).

Here are Robert Horton’s comments on the album:

“the 10,000 things” is a phrase taken from the tao te ching. “the 10,000 things” is this very world. the world, according to david hinton’s translation, arises from the dark female enigma.,. the source of all appearances. lisa and i play with the 10,000 things with abandon and no regard to genre, only to how various things vibrate: wood, reed, metal, skin, string.  lisa let me know she was going to be in the bay area, perhaps it was summer like june 2014, for a gig. i prepared some structures for her to add to. i made notes on index cards to record her playing drums, marimbas, metals, at various tempos. the idea from the beginning was to use all of lisa’s magic, as a drummer, percussionist, and noiseist. death is close to the enigma, and sometimes we chose to just have a beer with death. these recordings were made just prior to me having 4 heart attacks, so my work with lisa could have been my last musical fun on this particular planet. the music we made does not fit easily into any prescripted thought patterns or record bins. stop thinking and listen. Yea !  robert horton 2018

One could say that this album is a more distilled and purer item than XTERIP, but it’s actually quite different. With XTERIP, it was as though the tracks were segments taken out of an endless jam (the way Teo Macero would assemble Miles Davis “albums” from such jams)–here, though, as Robert mentioned above, each track is a separate and unique creation. It’s as if they cast the runes for each track, and approached each with a different methodology and from a different angle with different instrumentation. Listening to the album once again (for probably the 50th time) as I type up these notes, early on a Sunday morning, I feel as though I am taking a tour through seven rooms (the album has seven tracks) in some sort of psychick (yes, the TOPY/PTV reference is intended) funhouse-temple, staying for a while in each room and catching the distinctive vibe in each one. For me, this music gets richer with each listen, and I’d suggest you just program the CD player on “repeat” and let this album become the soundtrack of your day. It will both take you above this world and plunge you into it in a deep way. THE TEN THOUSAND THINGS is a beautiful album that is beyond time…..

ROBERT HORTON, working out of the SF Bay Area since the 1970’s, has been one of the most interesting artists to grow out of the experimental side of the 70’s noise-punk world, and he’s been issuing fascinating work on small labels over the decades. KSE was happy to welcome him into our family last year with XTERIP, and we’re excited to say that he and I are working on compiling a new RH solo album for 2019! He may be best known for his association with Sky City, The Appliances, Plateau Ensemble, and duos w/ Tom Carter. You can learn a lot about Robert’s aesthetic in this article, originally posted in 2008:  https://constantindubois.wordpress.com/2015/08/24/about-robert-horton-experimentor-extraordinaire-writing-2008/

LISA CAMERON, Austin-based percussionist and Texas psychedelic warrior, has also been fighting the good fight since the 1970’s, having worked with a staggering number of major figures in the experimental music field, as well as being a founding member of Brave Combo (I first saw her with BC circa 1979-80!) and a member of Roky Erickson’s Evil Hook Wildlife band (80’s), a member of Jandek’s Austin 2012 band, a member of Glass Eye, a member of ST 37 for two decades, and she’s played with a mind-blowing array of underground figures when they visit Austin (including members of Faust and the Source Family, and I’ll never forget her percussion duo with Mani Neumeier of Guru Guru!)…her long-term Venison Whirled project (which explores the territory between and among amplified percussion and controlled feedback) has played experimental music venues across Texas and North America…this is her 9th KSE release (not counting her appearance on the KSE 11th Anniversary Album!)…we love Lisa and her work….in fact, when I organized/produced four KSE music events in Austin in the 2011-2012 (including a Jandek performance), LISA was the only musician I used in all four events.

This new album with Robert Horton is the first of THREE Lisa Cameron duo albums which will be released in the next 8 months….around New Year’s Day, will be a duo album with West Coast-guitar visionary Ernesto Diaz-Infante, and in the Spring of 2019 a duo album with San Antonio-based master percussionist and deep-improv visionary Dane Rousay, both of whom have worked on a number of projects for KSE, so it’s like a family reunion!

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 #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”

 

Thank you for your support since March 2006….

LISA AND ROBERT 2018 COVER

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.

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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.

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