Kendra Steiner Editions (Bill Shute)

April 30, 2009

STEREO ACTION (KSE #135), now available!

Filed under: Uncategorized — kendrasteinereditions @ 8:58 am

STEREO ACTION (Sound Library Series, Volume 42)

by Bill Shute (KSE #135)

“Stereo Action is musical movement so real, your eyes will follow the sound!”  So claimed RCA Records in the early 1960’s, when it introduced the fascinating avant-lounge series of STEREO ACTION albums. Put simply, these were albums specifically arranged and recorded to show off high-fidelity sound systems and, more specifically, stereo technology. The albums I’ve heard present a dizzying array of instruments swooshing from channel-to-channel; call-and-response musical lines  bouncing back and forth as if one is listening to a musical tennis match; and a strange, vaguely futuristic feel among the pin-ponging and phrase-melting. It’s the music that George Jetson might listen to, cocktail in hand, during a romantic evening. You can see pictures of some of the albums here: .

As regular KSE readers know, I often use formalistic elements from other art forms in creating form/structure for my poetry. About 18 months ago I did a series of chapbooks influenced by the visual arts where I attempted to somehow transpose the painting techniques of artists such as Tapies, Bacon, and Hopper to the poetic page. In terms of music, I’ve used all kinds of forms—-from the fugue to the listening-based free-improv of the Spontaneous Music Ensemble to John Cage’s time brackets and many others—-in seeking to extend the boundaries of my art and to find forms that can cast on the page what I see in my mind’s eye, what I hear in my mind, what I feel in my body. The doors were  opened earlier by poets ranging from Blackburn to Wieners to Berrigan to Aram Saroyan to Creeley to Stein, and I feel as if I’ve walked through those doors and emerged into the light of day and the limitless expanse of the world, no longer cramped in a small poetic room.  I intend to make use of the freedom of form, to create a new form for each work that is necessary to the full realization of that work, to take the work to the next level, and eventually, I hope, into the stratosphere. So what will expand on the page will expand in the mind and will thus expand the mind and finally lead to better and less-limiting ways of perceiving and experiencing consciousness and life, because in the end that’s what really matters. Yes, that’s a tall order, but as John Ashbery once wrote about Gertrude Stein’s Stanzas In Meditation,

Stanzas in Meditation is no doubt the most successful of her [Stein’s] attempts to do what can’t be done, to create a counterfeit of reality more real than reality. And if, on laying the book aside, we feel that it is still impossible to accomplish the impossible, we are also left with the conviction that it is the only thing worth trying to do. “

In the tradition of the “Stereo Action” albums, this chapbook-length poem is built around two channels. The left channel (used on pages 1, 2, 3, and 5) consists of four three-line stanzas grounded in images from the mundane world of things and actions and physical sensation. The right channel (used on pages 1, 3, 4, and 5) is more in the philosophical/spiritual vein, offering a kind of meta-commentary on the details found in the left column. To create the alternating channel effect, the five pages have the following form:

page one:           A     B

page two:           A

page three:        A     B

page four:                   B

page five:           A      B

And to further extend the channel-to-channel “melting” effect, I do have a few lines here and there that contain content that would belong on the left but is in the right, and content that would belong on the right but is in the left. Each page’s left and right columns have a counterpoint, yet the work does have a beginning, middle, and end; rising action; climax; resolution, etc. From toxic assets to akashic records, from air pressure in car tires to negative space, from children standing in the rain to unbleached undyed yoga mats…it’s non-stop STEREO ACTION!!!

hand-numbered, hand-assembled edition of 49 copies, 21 of which are already gone…

For ordering information, check out the AVAILABLE KSE CHAPBOOKS page to your upper right…

Soon I’ll have a write-up on Doug Draime’s fantastic new KSE chapbook KNOX COUNTY (KSE # 132), featuring beautiful photography by Lena Ozuna. That’s also available for order NOW.

Remember, orders need to be in by MAY 12 for me to ship them before I leave for the Northeast. Any orders that come in while I’m gone  will be shipped on May 28th.

April 29, 2009

MORE (KSE #136), now available

Filed under: Uncategorized — kendrasteinereditions @ 10:43 am

MORE (Sound Library Series, Volume 43)

by Bill Shute (KSE #136)

I haven’t yet posted an entry on either STEREO ACTION or KNOX COUNTY but those will be up within a week, I hope.

However, MORE is out and available now, so here’s the essential info on the 43rd entry in the Sound Library Series.

MORE contains six poems, inspired by songs (and named after song titles) from the obscure 1968-69 album WIDE WORLD HITS, by the String-A-Longs, produced by Norman Petty in Clovis, New Mexico. It’s essentially an MOR guitar instrumental album, of some interest to collectors because supposedly it’s really The Fireballs, performing in the style of the more languid String-A-Longs. Certainly the lead guitarist seems to be George Tomsco of the Fireballs, a man with a beautiful tone and someone who can play in any number of styles. Though probably a disappointing album to those who want rock’n’roll instrumentals, Tomsco’s playing is as sublime as always, and like all Norman Petty productions it has a rich and distinctive sound. And multiple plays of it inspired this chapbook:

MORE…Julie London sings Cole Porter as background to depressing and anonymous post-midnight affairs…

PLACES I REMEMBER…the goings-on in the alley behind Eskimo Joe’s in Stillwater, Oklahoma, as seen through a Looney Tunes shower-curtain filter…

SOMEONE STRONGER…adapted from the never-finished, never-published CACTUS BARRIER, this is set in 1951 and finds a young man more interested in a western comic book than a woman…

I’LL BE THERE…neutron bombs and dogs wandering over the Gettysburg battlefield and squatters and standardized tests and strangers playing tennis on the neighborhood courts…

LOVE IS BLUE…a cryptic situation unfolds as the southern sky transforms…

SILENCE IS GOLDEN…a meditation upon non-dualistic (Advaita Vedanta) thought (the epigraph comes from the Avadhuta Gita, an important text from that tradition) to tie together and close the collection.

hand-numbered, hand-assembled edition of 39 copies, 15 of which are already gone…

If you are new to my poetry, you might want to start with ACRES or SUSPENSION…but if you’re someone who enjoys jumping into the deep end of the pool, grab a copy of MORE while you can.

Presently, I’m working on the next Sound Library entry, the one (mentioned in a previous post)  that’s based on a Jandek album, for which I received approval from Corwood Industries. I’ve chosen the album and started work on the piece, but I’ll not give any specifics until it’s almost done. I expect to spend a month or so on it.

The next two chapbooks for May and June, RONALD BAATZ’s “Headlights from the Otherside of the World” and ALEATHIA DREHMER’s “Circles,” are both ready and will be released before I leave for the Northeast on May 14th.  I’ll be gone for two weeks, so get your orders in by May 12th and I’ll send out the books before I leave town.

For ordering information, check out the AVAILABLE KSE CHAPBOOKS page to your upper right…

April 27, 2009

Bill’s AIPF reading in Austin, 4/26/2009

Filed under: Uncategorized — kendrasteinereditions @ 10:34 am

Thanks to all who came out for the reading yesterday at Ruta Maya in Austin, especially to those friends who came up all the way from San Antonio (the photos below are by one of those…thanks, Laurie!) early on a Sunday morning.

I opened the “Poets of the Spirit” program, reading two chapbooks, “ACRES” and “LEAF-BLOWERS.” There was an audience of about 50 at the time (more arrived later, after I read) and it seemed to go down well. I moved a number of chapbooks, chatted with the festival director and some of the other poets, and most importantly introduced new people to what I’m doing. It’s all about planting seeds and taking chances with new audiences.

There was an open mike period after that program, and I returned to a bigger audience then and read sections 4 and 6 of “STOP AND YOU WILL BECOME AWARE.” Those are political pieces that I thought would be crowd-pleasers for an Austin audience, and indeed they were!




                                                                            LENA, MARY ANNE, and BILL before the reading

Thanks for the messages sent to wish me a good reading. The coffee, atmosphere, and lamb empanadas at Ruta Maya were great, and afterwards we had a nice get-together on the patio at Freebirds .

Best wishes to the Austin International Poetry Festival for continued success!

April 24, 2009

Bob Dylan back in Texas in August—3 shows

Filed under: Uncategorized — kendrasteinereditions @ 10:37 am

Bob Dylan’s enormously successful summer tour of minor-league baseball parks returns again this year, making 3 stops in Texas cities, and including not just Willie Nelson this time but adding John Mellencamp to the show.

Tickets are general admission and $67.50 each. Children 14 and under get in free, one per paid adult ticket. Doors open at 4:30 for BobDylan.Com ticketholders (it’s easy to sign up for that and recommended), 5:00 for everyone else, and showtime is at 5:30.

AUGUST 4,   ROUND ROCK, TEXAS        Dell Diamond

AUGUST 5,   CORPUS CHRISTI, TEXAS    Whataburger Field


Tickets go on sale in May, with BobDylan.Com members getting access five days earlier. Check the website for exact details.

Dylan’s new album TOGETHER THROUGH LIFE will be issued in the US this coming Tuesday.

If you are really a Dylan fan, you’ll want to pick up a copy of Glenn W. Cooper’s wonderful poetry book TRYIN’ TO GET TO HEAVEN: POEMS ABOUT, TO & INSPIRED BY BOB DYLAN, available here:  . A book featuring the elegance, understatement, mastery of tone, and precision of language always found in Mr. Cooper’s work, I’ve nearly worn out my copy, taking it with me when I’m on a bus trip, or waiting for a tire to be changed, or hanging out in the park on a summer day. Glenn W. Cooper is the author of the much-acclaimed RIMBAUD IN THE CITY (KSE #83) and also was featured in the closing spot in our KSE LAST POEMS (KSE #115) anthology, with the powerful selection “Your Own Small Tragedy,” which I’ll reprint here for those not lucky enough to have scored a copy of LAST POEMS while it was available. Enjoy! and don’t miss Dylan on tour this summer.




Embrace your own tragedy, for it is

yours and yours alone. Like corneal

identification, like fingerprints and

DNA, no two are alike. When you

awaken at 3 a.m. and reach for that certain

someone who is not there–feel

your despair and wrap your arms

around it–it is yours to keep for as long

as you need it. Those endless afternoons

alone with your thoughts, walking

the long hallways of memory with

every door open. The marrow-

deep anxiety of separation. The

phone that does not ring. Your own

small tragedy, maybe not

Shakespearean in scope, but

immortal just the same. Embrace it

like the rain. Feed it, water it in

the womb of your soul. Remember

it is yours to keep, that nothing

can ever take it away from you,

that if nothing else you have

saved this one special part

of your self that grew into more

than you could ever have imagined.


Glenn W. Cooper



April 19, 2009

Burton Greene & Perry Robinson, Austin TX, 23 April 2009

Filed under: Uncategorized — kendrasteinereditions @ 11:02 pm

I can’t believe that we here in Central Texas are lucky enough to see/hear two of the all-time greats of free-jazz, pianist BURTON GREENE and clarinetist PERRY ROBINSON. Both are masters of the entire jazz tradition, in addition to various world musics and klezmer and many other styles, but they are no doubt best-known for their 60’s work, Greene recording for both ESP-DISK and BYG-Actuel, and Robinson recording for ESP-DISK (on the classic Henry Grimes session THE CALL) and Savoy (the amazing FUNK DUMPLING). The concert is hosted by the wonderful contemporary music champions THE CHURCH OF THE FRIENDLY GHOST. Here’s the COTFG press release for the event:

WHAT: Burton Greene & Perry Robinson perform in duo.

WHEN: Thursday April 23rd, doors at 7PM, performance at 7:30

WHERE: The Boyd Vance Theater at the George Washington Carver Museum & Cultural Center,
1165 Angelina Street, Austin TX.
$12 admission.

WHY: church of the friendly ghost presents this concert as a part of our ongoing series of performances in creative music.

email or call Aaron Mace at 512 786 2015 for more information.

This is yet another momentous occasion for jazz and creative music in Austin for April 2009.

April is jazz appreciation month in Austin, and the community is doing our beautiful city’s reputation justice this year. Just look at the roster of performances this month! Epistrophy Arts brings Ab Barrs & Ken Vandermark to the Victory Grill, NMC brings the music of Alvin Lucier to Ceremony Hall, Fuse Box festival brings Ikue Mori and Zeena Parkins to the Long Center, and over at the Salvage Vanguard we’re hosting Omar Tamez next week. These are some bright points, but not half of everything there will be to hear of this month. Not a month to take living in Austin for granted.

Since 2003, in the course of organizing over 400 performances, this date with Burton Greene and Perry Robinson stands out as one of the most highly anticipated within our organization as well as the close community of musicians and great lovers of new music that we have become friends with over the years.

Burton Greene has been a brilliant, tireless, path-cutting artist for over 40 years beginning prominently
in the avante garde jazz scene in New York around 1960 and joining the jazz composers guild in 1964.
Cautioning not to be prolix in this press release, and trusting, dear journalist, that you might already be well aware that when it come to playing with important figures in jazz, being a part of the jazz composers guild in 1964 sets the bar on the top notch. Perhaps it isn’t so much that Burton Greene has played with everyone important you’ve heard of, but that they’ve played with him.

Perry Robinson is a musical treasure, a master of the clarinet, and likely a genius. For the breadth of his career and the depth of his work, I am afraid he probably deserves very much wider recognition. It is no exaggeration to call him one of the very best clarinet talents in the world.

*In addition to this performance, and as part of the Fuse Box festival, Burton and Perry will be interviewed at the Modern Aural Sculpture Symposium South {M.A.S.S.S.} to be held Friday April 24th, and Saturday April 25th at the Acton School of Business at 1404 east Riverside Dr.
The interview is scheduled for 12:30 PM on Friday the 24th at the Acton School, conducted by cultural maven, music writer, jazz historian, and mad library scientist Clifford Allen, one of the “ten hippest cats in Austin.”
This is truly AN EVENT. Hey, if you can attend only one cultural happening in Austin this coming week, skip my reading on Sunday at Ruta Maya and see Burton Greene and Perry Robinson on Thursday. If they were booked at the same time as my reading, I would skip my own reading to see them!

April 17, 2009

two future KSE “Sound Library” volumes

Filed under: Uncategorized — kendrasteinereditions @ 6:06 am

KSE’s “Sound Library Series” is at the core of our operation, and we’re up to 42 volumes now. While the majority of them are by yours truly, a number of other poets have had chapbooks in the series, including Stuart Crutchfield, David Keenan, Brad Kohler, Christopher Cunningham, and Adrian Manning.

Two exciting new entries will be forthcoming later in 2009:

Michael Layne Heath will be doing a chap inspired by KIM FOWLEY‘s 1978 classic  “Sunset Blvd.” I’ve been asking MLH to do a Sound Library chap for a while, and this choice is the perfect marriage of poet and music. Sunset Blvd. was issued in the UK on the Illegal label and in the US on PVC, and a number of tracks were pulled from the album for singles in Europe. Fowley is, for me, the ultimate beat poet…he just happens to be working in music. This chapbook should be arriving in Fall 2009.

And I will be doing a chap dedicated to one of Jandek‘s albums, having recently received the corporate blessing of Corwood Industries for such a project. I’ve been listening to SKIRTING THE EDGE in recent weeks, and I just acquired GLASGOW SUNDAY 2005, and the 3 spoken-word and the 3 fretless bass-and-vocal albums are longtime faves. But I’ll listen to a lot more Jandek in the next month or two before deciding which album I’ll tackle.

I may well be doing other solo volumes in the Sound Library Series before these chaps arrive, but having MLH do something Fowley-related and getting Corwood’s permission for a Jandek chap seemed important enough news to rate its own announcement. I KNOW the KSE readers, and I know this is exciting news to you all…           🙂

April 16, 2009

mid-April 2009 notes

Filed under: Uncategorized — kendrasteinereditions @ 9:25 am

Lots of action here recently. What with

the mind-blowing Jandek funk-riff performance in Houston,

and then the mind-blowing evening of Alvin Lucier music from the Austin New Music Co-op,

and then the recently released KSE chaps (Misti’s ODD YEARS, Brad’s DOG NIGHTS, DOG DAYS, Doug’s KNOX COUNTY, and my own THIS DAY WITHOUT and STEREO ACTION),

and then finishing up the editing with Ronald Baatz on his HEADLIGHTS FROM THE OTHERSIDE OF THE WORLD (which will be out in May),

and then getting back to the final touches on Aleathia Drehmer’s June chap CIRCLES,

and then getting some future projects featuring MK Chavez and Luis Cuauhtemoc Berriozabal and Jim D. Deuchars agreed-upon and placed in the release schedule,

and then getting things together for my own next poetry project (another spiritual meditation along the lines of the ones I did on the Tibetan Book of the Dead and the Mandukya Upanishad, although the verse form here may well be in the tradition of 44 HARMONIES or STEREO ACTION…then again it may not!),

and then psyching myself up for my reading in Austin on April 26th,

and then psyching myself up for an important wedding in Houston on May 2nd,

and then psyching myself up for the Jandek/MV&EE concert in Houston on May 3rd,

and finally psyching myself up for my trip back East in late May.


Don’t forget that the following chaps are available NOW:

#132,  DOUG DRAIME, knox county ;

#135,  BILL SHUTE, stereo action (sound library series, volume 42) ;

#130,  MISTI RAINWATER-LITES, odd years ;

#126,  MICHAEL LAYNE HEATH, grey rage (dyed) ;

#127,  BRAD KOHLER, dog nights, dog days ;

#133,  BILL SHUTE, this day without (sound library series, volume 41) ;

#131,  BILL SHUTE, acres (sound library series, volume 40) ;

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;


Cost is $4.00 each or 3 for $10.00 (only one copy of any book per customer) postpaid in North America. Send a check (or well-concealed cash) made payable to Bill Shute, 14080 Nacogdoches Rd. #350, San Antonio, Texas, 78247. OR chapbooks are available to overseas readers DIRECT FROM KSE postpaid outside of North America for only $5 each. Overseas orders should write and request a paypal invoice for whatever you’d like.

I’ve upped the print run on the recent chaps as we’ve gotten some new distribution outlets and I’ve been doing some more trading with other small presses and we’ve broken into some new audiences recently. Also, ACRES has turned out to be quite successful, so we’ve gone into a second printing on that and will keep it available throughout the Spring-Summer. I’ll also do a special edition of ACRES to distribute at my Austin reading, so if you don’t have ACRES and you attend the Austin reading, come up afterwards and I’ll give you a free copy of the “AIPF” edition of ACRES, sure to be a rarity (cough, cough) in future years!  🙂

As always, thanks for your friendship and your support for our work.

April 13, 2009

Bill Shute, Austin TX reading, 26 April 2009

Filed under: Uncategorized — kendrasteinereditions @ 10:22 pm



 San Antonio poet-publisher



author of   POINT  LOMA  PURPLE


reading from his recent chapbooks





9:00 a.m.





part of the AIPF “Poets of the Spirit” Sunday Morning program







Cyril Jordan and Roy Loney reunited at Ponderosa Stomp!

Filed under: Uncategorized — kendrasteinereditions @ 10:41 am

I’ve yet to make it to the annual Ponderosa Stomp in New Orleans because I usually cannot get off work, and I’ve missed some incredible artists and shows, but this year I’m even angrier than usual at not being able to make it because the legendary CYRIL JORDAN and ROY LONEY, the original front-line of THE FLAMIN’ GROOVIES, considered by many to be the definitive American rock’n’roll band, are reuniting for their first performance since 1971. While later line-ups of the Groovies have also been great (I’d go for a Cyril Jordan-Chris Wilson-Mike Wilhelm reunion too), the Jordan-Loney tag team of TEENAGE HEAD and FLAMINGO and SUPERSNAZZ and SNEAKERS fame have always been special and had a combination of influences and talent that could not be beat. Is my math wrong or is it 38 YEARS since 1971? There’s not a month that goes by that I do not dig out my SKYDOG-label 45 of this lineup doing “I Can’t Explain” and then marvel at how this one performance is, simply, the way rock’n’roll was meant to be played.

Loney and Jordan will be backed by Billy Miller and Miriam Linna’s band THE A-BONES, which is also a dream pairing.

And if that is not enough, Dale Hawkins and James Burton (think the original “Suzie Q”) will also be reunited again (prior to their pairing at a recent Stomp, they had not performed together in concert for 40 years),  Otis Clay will be backed by the Hi Rhythm Section, and there are countless other amazing performers. The Queen of rock’n’roll, WANDA JACKSON, will also perform. I had the privilege of meeting Wanda and her husband Wendell in Pawnee, Oklahoma, in 1984, when Wanda was performing Christian material with a guitar and a backing tape to an audience of about 15, and then I saw her again at my first date with my wife Mary Anne, when Wanda paired up with the great ROSIE FLORES, one-time San Antonio resident and an amazing talent who should be a superstar. The Wanda and Rosie show was incredible, and I got to chat with Wanda briefly, and when she saw me with Mary Anne, she said, “you two are so right for each other, you should get married.” We took her advice!

Hey, if you can possibly make it to the Stomp this year, don’t miss it. Let’s hope Norton Records records the Loney-Jordan show! And let’s hope the Stomp makes its next goal reuniting Cyril Jordan with Chris Wilson and Mike Wilhelm, so the “Shake Some Action”-period Flamin’ Groovies can show us they’ve still got it!

go to  for further details.

I see Lazy Lester is also playing, and he is another one not to miss, one of the greatest and the few surviving kings of the Excello records/swamp blues sound. I met Lester between sets at Antone’s back in the 90s, and he’s a great guy.  He’d worked as a trucker between music gigs in the lean years, and we discussed the old days of night-shift truckers’ radio in the 50s-70s, and Lester—-a far more eclectic man than many would realize—-commented on how “they’re not making them like Hank Snow anymore.” !!!!!  They certainly aren’t! 🙂

April 8, 2009

Complete KSE bibliography, as of April 2009

Filed under: Uncategorized — kendrasteinereditions @ 6:22 pm

David Fern and I have now completed a listing of 133 Kendra Steiner Editons chapbooks. We’ll gradually add comments for all 133 entries–presently we’ve got comments on about a dozen chaps. As the list is updated, it will appear among the “pages” to the right of this post. Check back there from time to time. Right now, however, I’d like to post a listing of all 133 numbers here on the main page for all to see. We’re now in our 4th year of operations, and this list is a tribute to all the poets, readers, distributors, reviewers, friends, and especially customers who’ve been there with us along the way. A million thanks to all of you. Here’s the list:

KSE #133, Bill Shute, “This Day Without.” Sound Library Series, Volume 41. Issued April 2009.

KSE #132, Doug Draime, “Knox County.” Photographs by Lena Ozuna. Issued April 2009.

KSE #131, Bill Shute, “Acres.” Sound Library Series, Volume 40. Issued March 2009.

KSE #130, Misti Rainwater-Lites, “Odd Years.” Issued March 2009.

KSE #129, Mira Horvich & Bill Shute, “Suspension.”

KSE #128, Bill Shute, “Hours Past Sunset.” Sound Library Series, Volume 39.

KSE #127, Brad Kohler, “Dog Nights, Dog Days.”

KSE #126, Michael Layne Heath, “Grey Rage (Dyed)”. Issued February 2009.

KSE #125, Bill Shute, “Marking Time.”

KSE #124, Michael Jacobson & Bill Shute, “A Gift of Stars.”  Issued December 2008.

KSE #123, Bill Shute, “We’ll All Get By.” Sound Library Series, Volume 38.

KSE #122, Luis Cuauhtemoc Berriozabal. “Still Human.”

KSE #121, Bill Shute, “Leaf Blowers.” Sound Library Series, Volume 37.

KSE #120, Jack Henry. “Empty Houses.”

KSE #119, A. J. Kaufmann, “Satori in Berlin (X-Berg Songs).”

KSE #118, Bill Shute, “Venetian Sage.”

KSE #117, Zachary C. Bush & Bill Shute, “Shanti.” Creel Pone Sound Study #10.

KSE #116, Misti Rainwater-Lites, “Next Exit: Ten.”

KSE #115, various artists, “KSE Last Poems.”

KSE #114, Jim D. Deuchars, “Allegheny Rising.”

KSE #113, A. J. Kaufmann & Bill Shute, “Beyond the Blue Rocks: Meditations on the Tibetan Book of the Dead.”

KSE #112, MK Chavez & John Sweet, “Next Exit: Nine.”

KSE #111, A. J. Kaufmann, “Poznan City Gospel.”

KSE #110, Christopher Cunningham, “In Gambler’s Blood.” Sound Library Series, Volume 36. Each copy came with a different original watercolor by Mr. Cunningham.

KSE #109, Stuart Crutchfield & Bill Shute, “Electronic Myth.” Creel Pone Sound Study #9.

KSE #108, Debbie Kirk, “Broken.”

KSE #107, Doug Draime, “Bones.”

KSE #106, A. J. Kaufmann, “East-West Train.” Sound Library Series, Volume 36.

KSE #105, Ronald Baatz & Bill Shute, “The Companionship of the Plum”

KSE #104, Richard Wink, “All Along The Wensum.”

KSE #103, Luis Cuauhtemoc Berriozabal, “Garden of Rocks.”

KSE #102, A. J. Kaufmann, “Siva In Rags.”

KSE #101, Bill Shute, “Face to Face.” Sound Library Series, Volume 34.

KSE #100, Ronald Baatz & Luis Cuauhtemoc Berriozabal, “Next Exit: Seven.”

KSE #99, Aleathia Drehmer, “Thickets of Mayapple.”

KSE #98, Adrian Manning, “Wide Asleep, Fast Awake.” Sound Library Series, Volume 33.

KSE #97, Stuart Crutchfield, “Ozzified.”

KSE #96, Jim D. Deuchars, “Pieces of Eight.”

KSE #95, Bill Shute, “Quartet: Improvisations on the Mandukya Upanishad.”

KSE #94, Doug Draime, “Love and Blues in Oregon.”

KSE #93, Bill Shute, “Transparency.” Sound Library Series, Volume 32.

KSE #92, Bill Shute, “Shore Access.” Sound Library Series, Volume 31.

KSE #91, Bill Shute, “Afterglow.” Sound Library Series, Volume 30.

KSE #90, MK Chavez, “Visitation.”

KSE #89, Hosho McCreesh & Caleb Puckett, “Next Exit: Eight.”

KSE #88, Bill Shute, “Luna Americana.” Creel Pone Sound Study #8.

KSE #87, Doug Draime, “Last May (1968).”

KSE #86, Bill Shute, “Slash & Burn.” Sound Library Series, Volume 28.

KSE #85, Hosho McCreesh, “37 Psalms from the Badlands.”

KSE #84, Bill Shute, “Pulses of Time.” Creel Pone Sound Study #7.

KSE #83, Glenn W. Cooper, “Rimbaud in the City.”

KSE #82, Luis Cuauhtemoc Berriozabal, “Keepers of Silence.”

KSE #81,  Bill Shute, “Still.” Sound Library Series, Volume 29.

KSE #80, KM Dersley & Adrian Manning, “Next Exit: Six.”

KSE #79, Bill Shute, “44 Harmonies.” Sound Library Series, Volume 27.

KSE #78, Michael Layne Heath, “Sacred Grounds.”

KSE #77, Bill Shute, “Red Diptych (for Antoni Tapies).”

KSE #76, Zachary C. Bush & Bill Shute, “Intervals.” Creel Pone Sound Study #6.

KSE #75, K. M. Dersley, “Blue Velour.”

KSE #74, Bill Shute, “Don’t Look Back.” Sound Library Series, Volume 26.

KSE #73, (NUMBER NOT USED–#73 was accidentally used on some copies of Bridge To Nowhere, which is actually #70)

KSE #72, Bill Shute, “Texture and Accident.”

KSE #71, Bill Shute, “Objectless (For Kazimir Malevich).”

KSE #70, Bill Shute, “Bridge To Nowhere.” Sound Library Series, Volume 25.

KSE #69, Christopher Cunningham, “Next Exit: Five.”

KSE #68, Misti Rainwater-Lites, “Lullabies for Jackson.”

KSE #67, Bill Shute, “Norwich Unveiled.”

KSE #66, Zachary C. Bush & Brad Kohler, “Next Exit: Four.”

KSE #65, Bill Shute, “Aligned Into Memory.” (half our regular size–it’s 4″ by 2.75″)

KSE #64, Doug Draime & Misti Rainwater-Lites, “Next Exit: Three.”

KSE #63, Stuart Crutchfield & Bill Shute, “Telesma Charging.” Sound Library Series, Volume 24.

KSE #62, Bill Shute, “Larkspur Variations.”

KSE #61, Stuart Crutchfield, “Pith.”

KSE #60, Bill Shute, “In Perspective.” Chosen as one of the “best reads of 2007″ in Arthur Magazine!

KSE #59, Luis Cuauhtemoc Berriozabal, “Without Peace.”

KSE #58, K. M. Dersley, “Retrospective Forecasts.”

KSE #57, Mark Weber, “Four Poems From New York City.”

KSE #56, Thomas Michael McDade & Bill Shute, “Next Exit: Two.”

KSE #55, Doug Draime & Bill Shute, “Next Exit: One.”

KSE #54, Michael Casey, “The Bopper.”

KSE #53, Michael Ceraolo, “More Euclid Creek.”

KSE #52, Doug Draime, “Eyestone.”

KSE #51, Bill Shute, “Cactus Barrier.” Cinema Poetry Series, Volume 2. NOT PUBLISHED.

KSE #50, Thomas Michael McDade, “Thrill and Swill.”

KSE #49, Bill Shute, “Rocket Attack USA.” Cinema Poetry Series, Volume 1.

KSE #48, Bill Shute, “San Antonio Good Friday.” Creel Pone Sound Study #5.

KSE #47, Bill Shute, “Upside Down.” Creel Pone Sound Study #4.

KSE #46, Bill Shute, “Fantasmata 2007.” Creel Pone Sound Study #3.

KSE #45, Brad Kohler, “Energy Fools the Magician.” Sound Library Series, Volume 23.

KSE #44, David Keenan & Bill Shute, “Within Hod, Within.” NOT PUBLISHED.

KSE #43, Bill Shute, Symphonie Rouge. Creel Pone Sound Study #2.

KSE #42, Bill Shute, Fire of the Actual.

KSE #41, Stuart Crutchfield, “The Circus Crows Have Landed.”

KSE #41, Stuart Crutchfield & Bill Shute, “Pythagoron Two.” Creel Pone Sound Study #1.

KSE #39, Bill Shute, “Atonement.” Sound Library Series, Volume 22.

KSE #38, Bill Shute, “Yantra.”

KSE #37, Byron Coley & David Keenan & Bill Shute, “Voluntary Quicksand (In Memory of Richard Brautigan).”

KSE #36, Bill Shute, “Come on, React!” Sound Library Series, Volume 21.

KSE #35, Brad Kohler & Bill Shute, “Exacta Box.”

KSE #34, Stuart Crutchfield, “Shack Simple.”

KSE #33, David Keenan, “High All The Time.” Sound Library Series, Volume 20.

KSE #32, David Keenan, “Just Another High.” Sound Library Series, Volume 19.

KSE #31, Bill Shute, “Illusion of Motion.”

KSE #30, Stuart Crutchfield, “March.” Sound Library Series, Volume 18.

KSE #29, Stuart Crutchfield & Bill Shute, “Stream (Salmon and Blood).”

KSE #28, Bill Shute, “Stop and You Will Become Aware.” Issued October 2006.

KSE #27, David Keenan & Bill Shute, “More Ragas.” An unofficial “sequel” to David Meltzer’s 1959 book “Ragas.”

KSE #26, Bill Shute, “The Lost Tribe: Surviving in the Bush Jungle.”

KSE #25, Bill Shute, “Search.” Sound Library Series, Volume 14.

KSE #24, Stuart Crutchfield & Bill Shute, “Window on the Sea.”

KSE #23, Bill Shute, “Dream Scene.” Sound Library Series, Volume 10.

KSE #22, Bill Shute, “Trip Wire.” Sound Library Series, Volume 7.

KSE #21, Bill Shute, “Don’t Let Me Stand In Your Way!” 

KSE #20, Bill Shute, “Colors in Rhythm.” Sound Library Series, Volume 12.

KSE #19, Bill Shute, “Groove.” Sound Library Series, Volume 15.

KSE #18, Bill Shute, “Sliced Tomatoes.” Sound Library Series, Volume 11.

KSE #17, Bill Shute, “Twist.”

KSE #16, Bill Shute, “Chill.” Sound Library Series, Volume 13.

KSE #15, Bill Shute, “Ground.” Sound Library Series, Volume 17.

KSE #14, Bill Shute, “Maya.”

KSE #13, Bill Shute, “Envy.” Sound Library Series, Volume 9.

KSE #12,  Bill Shute, “Sonnets for Bill Doggett.” Sound Library Series, Volume 6.

KSE #11, Bill Shute, “Spirit.”

KSE #10, Bill Shute, “Balance.” Sound Library Series, Volume 8.

KSE #9, Bill Shute, “Extension.”

KSE #8, Bill Shute, “So Long: A Journal.”

KSE #7, Bill Shute, “Happening.” Sound Library Series, Volume 5.

KSE #6, Bill Shute, “Blue Bottle.” Sound Library Series, Volume 4.

KSE #5, Bill Shute, “Red Butterfly.” Sound Library Series, Volume 3.

KSE #4, Bill Shute. “Prototype.” Sound Library Series, Volume 2. Released April 2006.

KSE #3, Bill Shute, “Silhouettes.” Sound Library Series, Volume 1. Issued April 2006.

KSE #2. Bill Shute, “Starlight 1927 Remix.” Issued April 17, 2006.

KSE #1. Bill Shute, “Four Texas Streams.” Issued March 2006.

The bibliography can be found at

Why not bookmark that address so you can keep up with the updates and the descriptions of each chapbook that we’ll be adding…

April 7, 2009

composer Alvin Lucier featured at Austin New Music Co-op

Filed under: Uncategorized — kendrasteinereditions @ 6:30 am



An evening of works from the legendary minimalist/environmental-sound composer Alvin Lucier promises to be an evening to remember. His 1970 work  “I Am Sitting In A Room” was a stunning, seminal piece that can still stop the listener in his/her tracks today and that remains a fascinating exploration of the relationship between sound and environment and how the composer can use that relationship. Here’s the blurb on the Lucier program from the Austin New Music Coop website:

NMC is excited to present a full program of adventurous new music by influential minimalist composer Alvin Lucier. The co-op will be joined by virtuoso cellist Charles Curtis, a longtime colleague of Lucier and expert in his wonderfully innovative work. Through Lucier’s music, our audience will experience the physicality of sound while sine waves are frozen in time and performers use custom made electronic echo-location devices to reveal the unique sonic personality of the hall. Don’t miss this rare opportunity to hear the strange and beautiful music of this ground-breaking experimental composer.


Sound in Time – The Music of Alvin Lucier
With Special Guest Cellist Charles Curtis (San Diego, CA)
April 11th, 2009 – 8PM
Ceremony Hall
4100 Red River St.
$12 students/advance and $15 at the door
Advance tickets available at End of an Ear

Among the pieces to be performed is “Vespers,” composed in 1968 and dedicated to “all living creatures who inhabit dark places and who, over the years, have developed acuity in the art of echolocation.” The title of this work comes from the North American bat of the family “Vespertilionidae,” some of which reside under our very own Congress St. bridge. According to the composer, the piece seeks to “make a picture in sound about the space you’re in.” In order to perform the piece NMC members Bill Meadows and Travis Weller have crafted replicas of the electronic “Sondol” echo-location devices which were used in the original piece. In realizing this immersive piece, an ensemble of NMC performers will use the devices to send sounds into the environment. The sounds return as echoes carrying information about the shape, size, and substance of the performance space and the objects in it.

Also on the program is Lucier’s “Still and Moving Lines of Silence in Families of Hyperbolas,” composed in 1984. This series of pieces for chamber instruments (woodwinds, strings, and percussion) feature closely tuned pitches to create “sound geographies” of standing waves. As the performers change their tunings, they cause sound waves to freeze in place, or begin to slowly shift in one direction or the other. The performers as well as the audience will experience the unusual sensations of these lines of sound physically interacting with each other.

Additionally, NMC percussionist Nick Hennies will present “Silver Streetcar for the Orchestra,” and our guest artist will perform Lucier’s piece, commissioned for the performer and entitled “Charles Curtis,” for solo cello with two sine wave sweeps. In all, this distinctive program is sure to be stunning in its physicality.

See you all there!

April 6, 2009

JANDEK, Rudyard’s, Houston TX—5 April 2009 (comments)

Filed under: Uncategorized — kendrasteinereditions @ 10:46 am

This was a historic Jandek concert. Yes, every Jandek concert is different, he rarely if ever repeats material, he works with diverse groups of musicians (often people from the local avant-improv scene in whatever city he’s playing), and he’s played a wide variety of instruments at different shows. But this time, there were a number of factors that combined for a very different experience:

1) Before the show, Sterling stood by the side of the performance area and chatted with anyone who came up to him. Probably 20+ people (including me) spoke to him before the show;

2) He had a funk-based bassist, who kept a solid but evolving R&B riff going for the entire 75 minute performance. It was one piece and it wove four vocal passages into it. Otherwise, it was a funk bass riff  (the bassist was amazing!!) with solid steady drum support and Sterling playing a semi-psychedelic splatter guitar that was right up the alley of fans of either “I Heard Her Call My Name”-era Lou Reed or Thurston Moore/Lee Ranaldo guitar work on the various Sonic Youth albums, while still being 100% Jandek (I sent a text message to a few friends during the show that read, “Jandek goes psychedelic funk” );

3)  Sterling interacted with and looked at the audience more than ever. He’s always responded to the audiences and been inspired by their response, but I’ve never seen it as clearly evident as here, where the audience would chant something and he’d deliver riffs back in a kind of call and response;

4)  People were dancing at the side of the stage. Previously, I’ve seen Jandek CONCERTS, where everyone was sitting in a chair and we were viewing a PERFORMANCE. However, this was a club date, where he was six inches from hard-drinking, fist-in-the-air bar patrons, and it was a participatory event. People even threw cascarones onto the stage (Easter being a week away), and the confetti was flying as the musicians played;

5)  The musicians did an encore. I can’t say there’s never been an encore before at a Jandek show, but there hasn’t been at any I’ve seen or heard. And while the 9 minute encore piece was mostly instrumental, Sterling did interject a few phrases about how “I just can’t stop” and he was clearly touched by the audience’s love and support, he was visibly happy and excited, and he was “giving it back” in spades;

6)  This was a party atmostphere. Sterling and the bassist were trading riffs and smiles the whole show, and if any concert has even featured “the happy Jandek,” this was it.

7)  Sterling again stood beside the stage after the show greeting and talking to and hugging fans.

8)  It was the first-ever Jandek concert in the man’s hometown, the city he’s been issuing albums from for 30 years!!!

I drove 200 miles each way to see this show, and I’m incredibly glad I did. I also met a number of interesting people before the show, almost all of whom had stories about how Sterling himself and the whole Jandek/Corwood project inspired them both in their own lives and in their own artistic pursuits, and also how his music opened them up and literally changed them for the better.  I’ve always said to anyone who would listen that Jandek has been my inspiration, both for my own poetry and through Corwood for the Kendra Steiner Editions imprint. It was great to meet so many others who have been liberated and challenged by Jandek as I have. The main set yesterday was about the most intense 75 minutes of music I’ve ever experienced, the only other comparable experience being Cecil Taylor doing 2-hour  sets of uninterrupted solo piano, which I saw in 1976.

Sterling will be backed by David Keenan and Heather Leigh Murray on a Jandek tour of Ireland and Scotland in a few months, and I’m sure it will be totally different from what I saw yesterday and what I’ve seen at the previous three Texas shows I’d seen prior to that. That’s what happens when you’ve got an artist who is spontaneous and who is secure enough in his artistry to throw himself into unfamiliar artistic situations with new and different collaborators and simply see what happens.

Did I say that it was an incredible experience and that it was historic for Jandek on any number of levels?

Note to Corwood Industries: release a “HOUSTON SUNDAY” cd as soon as possible. How about next week?     

                                              –Bill Shute  ( San Antonio, TX),    6 April 2009

April 5, 2009

JANDEK, this afternoon in Houston

Filed under: Uncategorized — kendrasteinereditions @ 8:11 am


April 1, 2009

THIS DAY WITHOUT (KSE #133), now available

Filed under: Uncategorized — kendrasteinereditions @ 5:40 pm


(Sound Library Series, Volume 41)    KSE #133

Edition of 41 hand-assembled, hand-numbered copies

My previous chap ACRES was inspired by the medical-center sprawl in the undeveloped areas north of San Antonio. THIS DAY WITHOUT is set just north of downtown in the area between San Pedro Ave. and the former Pearl Brewery. I work near this area, and on my lunch hour I often walk through these older neighborhoods, which have a lot of character and which remain tradition-bound whatever seems to happen around them.

As a longtime admirer of the rich but stark place-rooted poems of Charles Reznikoff and Stefan Brecht, both writing about New York, I was inspired to compose a sequence that captured the grit and the texture of this area, a sequence that provided a poetic collage of this area, both documenting it and leaking its hidden narrative, while incorporating found elements and also a unifying refrain based on the title.

The result is THIS DAY WITHOUT. This neighborhood exists to some extent in the shadow of the former Pearl Brewery (now converted to yuppie shops and art-spaces), the brick smokestack of which still stands today. In the final third of THIS DAY WITHOUT, I tell the story of the final days of the Pearl Brewery and the pathetic disemboweling of the Pearl brand, which now exists only in a neutered and pale version of its old self, not even using the same recipe…the owner of the brand name not even brewing the beer, but sublicensing the brand to another brewer!  Pearl was never a great or perhaps even a good beer, but it was OUR beer and it defined the community and was a community partner. Anyone living in Texas or Oklahoma who drank cheap beer in the 70s and 80s surely remembers paying for a $1.39 six-pack of Pearl short bottles with change. Its fate seems the perfect symbol for what’s been happening all over North America in the last 15 years. But the neighborhood and its residents and its character survive, God bless them!

The epigraph this time is from John Cage: “Theatre takes place all the time, wherever one is, and art simply facilitates persuading one this is the case.” And that certainly sums up my attitude about  THIS DAY WITHOUT.

$4 postpaid in US, check payable to Bill Shute, 14080 Nacogdoches Rd.,  #350, San Antonio, Texas, 78247. Or get any 3 KSE chaps for $10. You can choose from the following:

#132,  DOUG DRAIME, knox county ;

#130,  MISTI RAINWATER-LITES, odd years ;

#126,  MICHAEL LAYNE HEATH, grey rage (dyed) ;

#127,  BRAD KOHLER, dog nights, dog days ;

#133,  BILL SHUTE, this day without (sound library series, volume 41) ;

#131,  BILL SHUTE, acres (sound library series, volume 40) ;

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;


#118,  BILL SHUTE, venetian sage ;

#125,  BILL SHUTE, marking time ;

#116,  MISTI RAINWATER-LITES, next exit: ten ;

#34,  STUART CRUTCHFIELD, shack simple (reprint).

Orders outside the US are $5 per book, postpaid. Write to django5722 (at) yahoo (dot) com and request a paypal invoice.

As always, thanks for your support.

I’ll be writing about Misti’s new one, ODD YEARS, and Doug Draime’s new one, KNOX COUNTY, over the next few weeks, but you can order them now!

Our May release will be from Ronald Baatz,

our June release from Aleathia Drehmer,

our July release from Luis Cuauhtemoc Berriozabal and Cynthia Etheridge (a poetry-photography collaboration),

and our August release from Zachary C. Bush.        Stay tuned…

Brad Kohler, DOG NIGHTS, DOG DAYS (KSE #127), now available

Filed under: Uncategorized — kendrasteinereditions @ 5:10 pm


“Dog Nights, Dog Days”    KSE #127

Edition of 47 hand-assembled, hand-numbered copies

Pittsburgh’s BRAD KOHLER is an original. I met Brad when we were both writing for BLACK TO COMM magazine during its 1990’s glory days, and since then I’ve followed his work whenever I could. His early chapbooks from 10-15 years ago such as BRUTAL HINDSIGHTSUCKER BET DOWN IN CLASS , and CURSED, POISONED, CONDEMNED contained  terse, raw, and sharply observed poetry and prose, but were hard to find unless you frequented underground record stores in Western Pennysylvania or Eastern Ohio. When KSE was established, Brad was one of the first authors I approached, and I’m proud to say that he’s since done three chapbooks for KSE: ENERGY FOOLS THE MAGICIAN (a solo chap), NEXT EXIT: FOUR (a shared chap with Zachary C. Bush), and EXACTA BOX (a collaboration with me, dealing with the sport of kings). Just a few months ago, Iniquity Press/Vendetta Books published Brad’s newest book, TEENAGE STONED DEATH GAMES, which has been getting great response both here and in Europe.

DOG NIGHTS, DOG DAYS takes us to the sweltering, tense Los Angeles on August 11, 1969. Recent highschool graduate Steven Parent dropped by 10050 Cielo Drive after a long shift at work to hang out with a friend who was caretaker there and have a beer. A little after midnight, Mr. Parent said goodbye and planned to drive back home, but he never made it. At the same time, half a continent away, an unnamed teenager in the American heartland plans to break away from his boring home and school life and split out to California, where it’s all happening, or so he feels.

These two narratives are intertwined in Brad Kohler’s DOG NIGHTS, DOG DAYS. The oppressive heat and the nightmarish actions that transpired that night are presented in a poetic technique that slows down time, that stretches each flash of perception until it becomes heavy and almost painful, while the other teen’s perceptions also come in slow, nervous spurts.

DOG NIGHTS, DOG DAYS is a new triumph for Brad Kohler and unlike any of his previous work. The content demanded a new and different form. And like all of Brad’s works, this was composed (his trusty manual typewriter was in the shop, so it was done by hand—Brad does not own or use a computer) on the backs of racing forms and tip sheets. If you’re unfamiliar with Brad’s work, check this out. It’s an experience you won’t soon forget.

$4 postpaid in US, check payable to Bill Shute, 14080 Nacogdoches Rd., #350, San Antonio, Texas, 78247. Or get any 3 KSE chaps for $10. You can choose from the following:

#132,  DOUG DRAIME, knox county ;

#130,  MISTI RAINWATER-LITES, odd years ;

#126,  MICHAEL LAYNE HEATH, grey rage (dyed) ;

#127,  BRAD KOHLER, dog nights, dog days ;

#133,  BILL SHUTE, this day without (sound library series, volume 41) ;

#131,  BILL SHUTE, acres (sound library series, volume 40) ;

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;


#118,  BILL SHUTE, venetian sage ;

#125,  BILL SHUTE, marking time ;

#116,  MISTI RAINWATER-LITES, next exit: ten ;

#34,  STUART CRUTCHFIELD, shack simple (reprint).

Orders outside the US are $5 per book, postpaid. Write to django5722 (at) yahoo (dot) com and request a paypal invoice.

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