Kendra Steiner Editions

July 20, 2013

gone for the rest of July 2013…

Filed under: Uncategorized — kendrasteinereditions @ 6:54 pm

I’m headed to Pittsburgh and to West Virginia for the rest of July 2013. Will be back on August 1st. If you are within driving distance of Pittsburgh, consider coming by the Bill Shute/Jim D. Deuchars reading on Sunday 28 July at 2 p.m. at Amazing Books. We’ll have some as-yet-unreleased KSE offerings available and a good time will be had by all.

All KSE orders (that don’t include a pre-order for the Krefting and Lambkin books)  received by noon Friday 19 July 2013 have been filled. Pre-orders for the Krefting and Lambkin poetry chapbooks will be fulfilled on or around August 10th, and whatever else you ordered with the chapbooks will be included with your shipment. Thanks for your advance support for this project and for your patience.

pittsburgh flyer

You can still pre-order the Graham Lambkin and Matt Krefting poetry chapbooks; we have a few dozen numbers remaining on both.

$7 in the US postpaid for either one, $8 outside the US postpaid. Payment should be sent via paypal to django5722(at)yahoo(dot)com

Please include a note with your order saying which items you want AND please include your mailing address/name. Thanks.

Here is a re-run (or as they say in the land of cable TV, an encore presentation) of the info on the Lambkin/Krefting pre-orders, previously posted:

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

KSE will be issuing two new poetry chapbooks in mid-August, and because we’ve had a lot of interest in these pieces, we are offering advance orders. Place your order now, and we will ship your order on/near August 10th. Also, we will number the chapbooks in the order we receive payment–earliest orders will get the lowest numbers and will be mailed first:

GRAHAM  LAMBKIN

“SLIMERS VERB”

poetry chapbook (KSE #258)

cover art by Mr. Lambkin

release date: 10 August 2013

hand-cut, hand-assembled home-made DIY edition of 125 copies

$7 US postpaid / $8 elsewhere postpaid

SLIMERS PHOTO

————————————————————————

MATT  KREFTING

“The Princess of Knight Avenue” (KSE #259)

release date: 15 August 2013

hand-cut, hand-assembled home-made DIY edition of 125 copies

$7 US postpaid / $8 elsewhere postpaid

matt krefting poetry PRINCESS

payment via paypal to  DJANGO5722(at)YAHOO(dot)COM

please include a note w/ your order telling us which book(s) you are ordering…thanks!

Based in San Antonio, Texas, Kendra Steiner Editions is a micro-press and micro-label which has issued 260+ chapbooks of forward-thinking contemporary poetry and cdr’s of experimental music in our 7+ years of operation.

While ordering your Lambkin and Krefting chapbooks, why not pick up another of our poetry chapbooks or cdr’s? All are hand-assembled DIY editions using varying inks and papers so you don’t know what combination you’ll get…and are in editions of under 150.

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

POETRY CHAPBOOKS (only $5 each when ordered w/ Lambkin or Krefting):

KSE #244 (poetry chapbook), MICHAEL LAYNE HEATH, “Unbroadcast Reruns”

UNBROADCAST RERUNS

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol”

KSE #236 (poetry chapbook),  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

Thelonious

KSE #249 (poetry chapbook), A.J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One Way Trail”

MEDITATIONS...

KSE #216 (poetry chapbook), JOHN SWEET, “Brave Retreat”

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

EXPERIMENTAL MUSIC CDR’S (only $7 each when ordered w/ Lambkin or Krefting):

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)

KSE #255 (cdr) ERNESTO DIAZ-INFANTE/LISA CAMERON/LEE DOCKERY, “Live At the KSE 6th ANNIVERSARY CONCERT”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

A23H  4

KSE #243 (CDR), VENISON WHIRLED (aka Lisa Cameron), “The Many Moods of Venison Whirled”

KSE #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

djin pcw everafter r6

KSE #239, (CDR), FOSSILS, “Bells and Gulls”

KSE #251, (CDR), FORBES GRAHAM, “Return: The Journey” (stunning new album from the Boston trumpeter-composer)

KSE #207 (CDR), ALFRED 23 HARTH & CARL STONE, “Gift Fig”

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio “

KSE #222 (CDR), MASSIMO MAGEE, “Sopranino Solo, “ cover art by MP Landis.

KSE #220 (CDR),  MATT KREFTING, “Sweet Days of Discipline”

matt krefting cover

KSE #240 (CDR), SPRILLS OF ORE (Eva Kelly), “Time Mirrors”

poetry chapbooks and cdr’s will be shipped along with your Lambkin and/or Krefting chapbook. Many thanks!

 ———————————————————————————————————————————–
Well, I’m off to enjoy myself East of the Mississippi for the rest of July…
Of course, I’ll be hitting some racetracks—-Mountaineer Park and Wheeling Island, both in West Virginia…wish me luck…see you in August…
 

wheeling

pittsburgh card

mountaineer race track

west virginia

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July 19, 2013

Kendra Steiner Editions featured at Free Form Freakout–link to podcast

In early July 2013, I did an extensive interview w/ David Perron at KMSU-FM (Minnesota State University, Mankato) on the legendary Free From Freakout program, discussing my own poetry and background, the history of Kendra Steiner Editions, commentaries on many KSE artists, and a discussion of current and upcoming projects. There’s LOTS of music and a lot of interview—-the whole show runs 2 hrs. 15 min. Thanks to David for his long-time interest in KSE and the professional job he did w/ the show. Some of you will remember that I was interviewed by KMSU-FM last fall on two of the installments of their Jandek Study Group broadcasts (shows 4 and 5 out of the 7 total). Here is the link…happy listening!   http://fffreakout.blogspot.no/2013/07/fffoxy-podcast-21-kendra-steiner.html

July 9, 2013

Jandek, “The Song of Morgan” (Corwood 0811, nine-cd box set)

Filed under: Uncategorized — kendrasteinereditions @ 9:02 pm
Tags: , ,

JANDEK

“The Song of Morgan” (Corwood 0811)

nine-cd box set of solo piano (studio) performances

$32.00 US postpaid/ $33.0o outside US from http://corwoodindustries.com/

song of morgan two

Now that I’ve had a chance to listen to all nine discs of the new Jandek solo piano box set, THE SONG OF MORGAN, I wanted to get a brief review up.  This release has generated a lot of interest and discussion, and while someone should (and surely will) do a more in-depth and analytical discussion of the set disc-by-disc, I can provide a general commentary on the topography of the set now that I’ve flown over the entire territory.

Jandek has been moving more into instrumental music with some of his recent studio releases; however,  since we do not know if these albums come out in recording order, and we do not know what unreleased sessions may have been recorded between what’s released, I’m hesitant to see any trend here, except that the Representative From Corwood is finding enjoyment in exploring the possibilities of the music half of the Jandek project. After all, he’s entitled to do that. His collected lyrics (and I’m not even counting the live shows) would probably fill a 500-page poetry book, so there’s a huge body of diverse work there to explore.

I’ve spent a lot of time with the Helsinki Saturday album (Corwood 796, and still available), recorded live in Finland and featuring Jandek’s piano with harp accompaniment, and that beautiful album brings to mind the work of Erik Satie for many, a minimal yet playful piano music that stays within well-defined parameters but is quite expressive within those self-imposed boundaries. There is some of that on the nine discs of The Song of  Morgan, particularly on Disc One, but as we move through the collection, there is a much broader dynamic range here.

Chopin would seem to be the main touchstone  (and I did not even make the “Nocturne” connection until I googled Chopin to brush up on his work before writing this), and I’m also reminded during some passages of 19th Century American parlor music,  but this is not music constructed in the manner of a Chopin…or even in the manner of a John Cage or a Morton Feldman. As always, I have the feeling that, like his guitar-based music, Jandek’s is a pure creation, NOT an imitation or composite of “influences.”

As I listen to these nine pieces, each one clocking in at around an hour, I am hearing a series of “piano explorations”….it’s as if the performer sits down at the piano, begins developing a phrase, plays around with it while gradually making his way up or down the keyboard, and evolves into a related passage, taking that in a new direction and seeing where it goes, etc.  The method reminds me of a pianistic “walk in the woods,” stopping to explore some areas in more detail, slowing down the pace here, speeding up the pace there, observing a gentle stream, pulling back and taking a view of a massive vista. But not winding up where he began…not working in a THEME–DEVELOPMENT AND VARIATIONS ON THEME AND MOTIFS–THEME format. What I’m reminded of most, actually, is the way Gertrude Stein will develop one of her texts such as “If I Told Him,” where she’ll repeat a phrase with some slight changes, then introduce a new word or two, and then follow the possibilities of that new combination, then add some new elements into the mix, and keep doing that and seeing where the textual journey takes her. If you can imagine a musical journey similar to that, played by someone who respects the classical piano traditions of the 1800’s and early 1900’s, but who comes to the piano with an outsider’s fresh eye, then maybe you have some idea of what you’ll be getting here.

Just imagine The Representative From Corwood in some dimly-lit practice room in some dimly-lit back hall on a Sunday morning in the recesses of the music department of a university, no one else around, and we hear his unhurried “explorations” spilling out into  the hall, the performer performing only for himself, not aware of any listeners, just exploring for his own sense of discovery.

Not all of the nine albums consist of one uninterrupted piece. At least two of them (4 and 8 and 9?) have more than one section separated by a pause, and I’m not sure if these consist of separate pieces presented together or are simply pauses during the session as The Representative From Corwood decides to start anew in different territory.

There is a good amount of stylistic variety within the parameters of the Jandek piano method—for instance, Disc 8 contains a dissonant section about 2/3 of the way through that could come from a Cecil Taylor album–and parts of Disc 9, from a distance at least, have the “sound” of Chopin-style elegant piano music. Disc 9 is also presented in separate–and thematically quite distinct–sections…and it ends in a dramatic fashion, as you’d expect such a piece to end. You could probably slip Disc 9 on at a party, and anyone who wasn’t a music student would not notice anything odd about the music being played.

So my description of this album would be to call it “improvised non-traditional piano explorations on a VERY large canvas.”  It is beautiful to listen to, intellectually interesting, and contains/evokes a rich set of emotions. Should you buy this? Hey, if you’ve  read this far, clearly you are enough of a Jandek person to want to explore the set on your own. And at less than $4 a disc, how can you go wrong? Take a date out to a movie on a Friday night and SPLIT a drink and a box of popcorn, and you’ve spent more than what this massive set will cost you.

This album was a dramatic move for Corwood, and I’d have to call it an unqualified success. It’s Jandek’s version of Keith Jarrett’s THE SUN BEAR CONCERTS. It’s an album that people will be talking about in 20 years. It’s epic…and it’s great listening. In fact, this and MAZE OF THE PHANTOM would be excellent entryways into Jandek’s art for the novice.

I may add more to this review after further listening and study, but really, you should come to your own conclusion. I just hope that you’ll take the plunge and get your own copy…

Oh, one final comment. Jandek performed a very well received solo piano concert in Oporto, Portugal on January 10, 2009.  As a fan of the Helsinki album, I asked Corwood if the Oporto show had been recorded. Yes it had, Corwood replied.  So when we reach January 2009 in the gradual release schedule of Jandek live shows, perhaps we’ll be treated to ANOTHER solo piano recital…

song of morgan three

song of morgan

Lisa Cameron’s CANOPY OF SOUND

Filed under: Uncategorized — kendrasteinereditions @ 3:20 pm

CANOPY OF SOUND

Opening event of the 2013 NMASS Festival, hosted by the Church of the Friendly Ghost

Wednesday 12 June 2013, beginning at 7:30 pm

Created and curated by LISA CAMERON and featuring a percussion ensemble of 12 musicians: Miranda Clark, Rebecca Ramirez, Eva Kelly, Lisa Cameron, Josh Ronsen, Amanda Jones, Alex Keller, Aaron Russell, Anne Heller, Matt Armistead, Bradford Kinney, Sheila Scoville, and Daniel Hipolito.

canopy 1

It began around 7:30 pm on a hot humid Wednesday night, behind the ball fields near the YMCA at Lamar and Cesar Chavez in Austin…in a tunnel under a foot-bridge…12 percussionists, each with a cymbal and a different kind of drumstick/mallet…each about five feet apart, staggered on opposite sides of the walkway, with foot traffic coming through

The first percussionist, organizer Lisa Cameron, began a pulse on her cymbal…a minute or so later, the next musician began, then another minute later, the next musician began, etc.   After a period when all performed together, they began dropping out of the mix in the same manner in which they’d blended into it, picking up their cymbal, and moving to another location a few minutes’ walk away to begin again. Different musicians playing different beats on different cymbals with different sticks/mallets…all coming together in the middle of an Austin weeknight, right in the middle of joggers and people walking to wherever they were heading.

canopy 2

(Lisa Cameron)

They eventually played in five areas, and the “audience” was not really a passive audience as we were encouraged to move among the musicians and do our own “mix” by focusing on different combinations of players…or stepping back a bit and capturing the full polyrhythmic effect and getting the “big picture” sound. It was whatever you wanted it to be.

It struck me as celebratory and ceremonial, even tribal, as well as being a true “happening,” the kind we don’t see enough of anymore. But then Lisa Cameron’s music often has a ceremonial quality, a deeply spiritual quality.

canopy 3(Daniel Hipolito)

We discussed the event a few days after it happened, while it was still fresh in both of our minds (not that it’s faded much over the weeks since…it was a combination of the heat and the water nearby and the physicality of the players and the concrete and the gravel and the waves of sound, a combination of sense impressions I won’t soon forget). Lisa explained that she saw it as a “sound sculpture with dynamic components,” a living sculpture, and one also in dialogue with the environment. Also, in the “lift the bandstand” tradition but mixed with spiritual practice, there’s no question that the musicians and the audience, all united, made these sacred spaces during the 2+ hour performance.

canopy 4(Eva Kelly, center, and Josh Ronsen, right)

The image Lisa had in her mind when she conceived of this event, and while it was happening, was rushing water, waves of rushing water. Those waves washed over us all, performer and non-performer alike, and cleansed us…and in the third set-up at the Opossum Voodoo Pew, which was actually performed right next to the water (see final picture),  we were being bombarded by 80’s power ballads booming across the water from some yuppie restaurant/club on the other side of the lake. Somehow playing against those evil waves coming across the water gave a “casting out demons” intensity to the performance…at least, to me it did!

Overall, it was a special evening…thanks to Lisa for organizing this, COTFG for hosting, and the dozen of Austin’s finest creative musicians  for all becoming part of this beautiful living sound and human sculpture…CANOPY OF SOUND

canopy new

July 8, 2013

pre-orders on Graham Lambkin and Matt Krefting poetry books now!

Filed under: Uncategorized — kendrasteinereditions @ 6:42 pm

KSE will be issuing two new poetry chapbooks in mid-August, and because we’ve had a lot of interest in these pieces, we are offering advance orders. Place your order now, and we will ship your order on/near August 10th. Also, we will number the chapbooks in the order we receive payment–earliest orders will get the lowest numbers and will be mailed first:

GRAHAM  LAMBKIN

“SLIMERS VERB”

poetry chapbook (KSE #258)

cover art by Mr. Lambkin

release date: 10 August 2013

hand-cut, hand-assembled home-made DIY edition of 125 copies

$7 US postpaid / $8 elsewhere postpaid

SLIMERS PHOTO

————————————————————————

MATT  KREFTING

“The Princess of Knight Avenue” (KSE #259)

release date: 15 August 2013

hand-cut, hand-assembled home-made DIY edition of 125 copies

$7 US postpaid / $8 elsewhere postpaid

matt krefting poetry PRINCESS

payment via paypal to  DJANGO5722(at)YAHOO(dot)COM

please include a note w/ your order telling us which book(s) you are ordering…thanks!

Based in San Antonio, Texas, Kendra Steiner Editions is a micro-press and micro-label which has issued 260+ chapbooks of forward-thinking contemporary poetry and cdr’s of experimental music in our 7+ years of operation.

While ordering your Lambkin and Krefting chapbooks, why not pick up another of our poetry chapbooks or cdr’s? All are hand-assembled DIY editions using varying inks and papers so you don’t know what combination you’ll get…and are in editions of under 150.

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

POETRY CHAPBOOKS (only $5 each when ordered w/ Lambkin or Krefting):

KSE #244 (poetry chapbook), MICHAEL LAYNE HEATH, “Unbroadcast Reruns”

UNBROADCAST RERUNS

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol”

KSE #236 (poetry chapbook),  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

Thelonious

KSE #249 (poetry chapbook), A.J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One Way Trail”

MEDITATIONS...

KSE #216 (poetry chapbook), JOHN SWEET, “Brave Retreat”

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

EXPERIMENTAL MUSIC CDR’S (only $7 each when ordered w/ Lambkin or Krefting):

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)

KSE #255 (cdr) ERNESTO DIAZ-INFANTE/LISA CAMERON/LEE DOCKERY, “Live At the KSE 6th ANNIVERSARY CONCERT”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

A23H  4

KSE #243 (CDR), VENISON WHIRLED (aka Lisa Cameron), “The Many Moods of Venison Whirled”

KSE #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

djin pcw everafter r6

KSE #239, (CDR), FOSSILS, “Bells and Gulls”

KSE #251, (CDR), FORBES GRAHAM, “Return: The Journey” (stunning new album from the Boston trumpeter-composer)

KSE #207 (CDR), ALFRED 23 HARTH & CARL STONE, “Gift Fig”

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio “

KSE #222 (CDR), MASSIMO MAGEE, “Sopranino Solo, “ cover art by MP Landis.

KSE #220 (CDR),  MATT KREFTING, “Sweet Days of Discipline”

matt krefting cover

 

KSE #240 (CDR), SPRILLS OF ORE (Eva Kelly), “Time Mirrors”

poetry chapbooks and cdr’s will be shipped along with your Lambkin and/or Krefting chapbook. Many thanks!

July 7, 2013

THE LANGUAGE OF CONSTRUCTION (KSE #265), new art-and-poetry chapbook from BILL SHUTE

BILL  SHUTE,   THE LANGUAGE OF CONSTRUCTION

KSE #265   poetry and photography chapbook

$6 US postpaid / $7 outside US postpaid

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

THE LANGUAGE OF CONSTRUCTION

Often, upon finishing what I consider a more “important” work,  I will feel as though I need to explore more fully aspects of that piece  and extend those aspects into new areas before I move onto another larger work (some of my friends who are painters and composers tell me they do the same thing). THE LANGUAGE OF CONSTRUCTION does that on a few levels.

The title phrase is, of course, Picasso’s. After working on my Picasso-inspired chapbook WORRIED MEN AND WOODEN SOLDIERS (which will be released later this summer…I’ll be premiering it at my reading at Amazing Books in Pittsburgh on July 28 and will have some pre-release copies available there…hope to see you!), I wanted get more into some of  the structural aspects of Picasso that I was investigating/playing with in WORRIED MEN. I was also still on a high from doing the art-and-poetry chapbook with Daniel Hipolito (MEDITATIONS ON A ONE-WAY TRAIL, KSE #261, still available for $6/$7, same price as this one), and wanted to continue poetic dialoguing with artworks. I had a suite of photographs I’d taken recently in New Braunfels, Texas; I’d been making some poetic notes recently in New Braunfels, Texas; thus, it seemed a natural to combine the two and produce a new art-and-poetry chapbook, and that’s THE LANGUAGE OF CONSTRUCTION.

The political concerns of WORRIED MEN are continued here, but in a more indirect and reflective manner, with a focus on how politics has “trickled down” to the individuals who, in this piece, wash dishes and wait on tables in New Braunfels, Texas, trying to find or to create small epiphanies in their/our lives. For me (and I never intend to tell anyone else how to write or how to live life, just report on what works for me), poetry loses value when it becomes divorced from life as it is lived—-that does NOT mean that I am producing a flat naturalistic recording of events or a direct transcription of interior monologue. When one uses the things of everyday life as the pieces with which he/she constructs his poetic word-sculpture, those “things” become part of a new “thing,” the poetry construct. That’s why I took the title JUNK SCULPTURE FROM THE NEW GILDED AGE for one of my spoken word cdr’s.

In a conversation a few days ago with an artist friend with whom I’m working on a project, I described my FLORIDA NOCTURNE POEMS as “rough-cut energized clusters of phrases, placed on the page as if it’s a canvas (post-Charles Olson “projective verse,” open-field poetry, though Paul Blackburn or Ted Berrigan are much more touchstones for me than Olson’s own poetry),”  and I suppose that is an adequate description of what’s going on here, though with a twist of the casual voice one finds in early Lewis MacAdams (I’ve been reading a lot of his 60’s/70’s works recently…his modern work is superb also, check him out), and of course, let’s not forget that the poems grow out of the artworks.

So come with me to contemporary Texas, to the restaurant/bar workplace, with its chatty customers, fidgety toddlers, a-hole bosses, after-work trysts, unrealized dreams, dust and desserts….waiting for rain, but afraid of rain…

Limited hand-numbered edition of 49 copies…get yours now. Because of the cost of printing, I hardly ever reprint the art-and-poetry chapbooks (I did a number of these in the 2008-2009 period), and also for logistical reasons, it’s unlikely that they will appear in future “selected poems” volumes, since the poems are inseparable from the artwork, and the artwork is too expensive to reproduce…so grab this now or you won’t get one….

language three

I also want to announce two new and exciting poetry chapbooks that will be out in August…you can order them beginning the first week in August and they’ll be officially released later in that month:

MATT KREFTING, “THE PRINCESS OF KNIGHT AVENUE” (KSE #259)

matt krefting poetry PRINCESS

and

GRAHAM LAMBKIN, “SLIMMERS VERB” (KSE #258)

graham cover

as always, thanks for your support of independent non-aligned DIY arts organizations such as KSE that circumvent the established “underground” hierarchy and connect person-to-person…

language five

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