Kendra Steiner Editions (Bill Shute)

June 28, 2016

KSE on Twitter

Filed under: Uncategorized — kendrasteinereditions @ 11:59 am

Well, I’ve decided to move this operation up to being 15 years out of date technologically rather than 25 years out of date, so we now have a Twitter presence. It’s listed as BILL SHUTE so please look for “Bill Shute” on Twitter and add KSE to your “feed” (or whatever you do there). Those who find the FB posts and blog entries too long-winded will enjoy KSE’s Twitter content. I’ll also include exclusive material and images there to make it worthwhile.

As always, thanks for your interest and support over the years….

June 25, 2016


Filed under: Uncategorized — kendrasteinereditions @ 9:29 pm


“MUSIC IN 3 SPACES” (KSE #351, CDR album)
1: Concert
(Eb Clarinet, recorded live at Hundred Years Gallery by Daniel Kordik)
2: Living
(Horizontal and Vertical Electro-Acoustic Alto Saxophone, conjoined selections of home recordings)
3: Cyber
(Audiovisual Digital Art Object, made with recording of sopranino saxophone)

full-sized CDR’s ($8.00 each, ppd. in 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 via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

MASSIMO 2016 cover

Very excited to release a new multi-dimensional exploration into the possibilities of improvisation from saxophonist MASSIMO MAGEE: MUSIC  IN  3  SPACES.

Recently, Mary Anne and I had the privilege of experiencing the massive Frank Stella career retrospective at the Modern Art Museum of Fort Worth (it’s there until September 18th, so check it out…very much worth the drive from Austin or Houston or Oklahoma City). We all know the 1960’s works–explorations using geometry as a launching pad– for which Stella is best known (although seeing these close-up where the minute detail can be observed makes them come alive and displays the endless variation within the painting and drawing), but the more recent work (and he’s still at it) where the images leap from the wall and explode at the viewer in three full (or even FOUR) dimensions were a revelation. Clearly, Mr. Stella has been taking the geometrical experiments of his early work and then extended and developed these in a logical and in some ways an inevitable manner, growing his art exponentially while still exploring and pondering the questions he dealt with in his 60’s work. The pieces are not really sculpture, but a kind of unique extension of painting and collage (he’s also been quite prolific—there’s an entire sequence of works inspired by Melville, for instance), growing it three-dimensionally. It was an impressive and also a humbling retrospective–the man’s life work has been devoted to DEEP exploration of an aesthetic territory. That kind of passion and that kind of imagination is inspiring!

While standing in the presence of one of Stella’s six-foot deep and twelve-foot high three- dimensional works, I thought of Massimo Magee and his works EXTENDING the solo peformances of various reed instruments (on this album it’s clarinet, alto sax, and sopranino sax). If the basic solo saxophone performance (think Steve Lacy, Anthony Braxton, Roscoe Mitchell, Lee Konitz, etc., going back of course to Coleman Hawkins’ seminal mid-1940’s solo saxophone recording PICASSO, which you can find on You Tube, if you have not heard it) can be thought of as similar to Stella’s 60’s geometrical works, studies and line and form and shape etc., then Massimo Magee’s various extensions of the solo performance genre develop the form exponentially and bring in extra physical and spatial dimensions to the experience. Magee brings a similar passion and imagination to his explorations.

Magee has always been someone who treats improvisation in an analytical manner, with the intellectual rigor of a philosophy major…but also with a sly wit and a painterly appreciation of texture and landscape and negative space.  His twenty-six volume set of “Collected Solos” (which you can download here for free!   ) is the most thought-provoking and massively liberating investigation of the possibilities of improvisation I’ve ever encountered. If I were in the proverbial “house on fire” situation and could take only ten music items, “Collected Solos” would be one of them. This new album MUSIC IN 3 SPACES continues Magee’s fascinating explorations of improvisation in multiple dimensions. Here is the artist’s own discussion of the three approaches to improvisation on the album’s three tracks:

With ‘Music in 3 Spaces’ …the basic premise is to situate my playing in 3 different ‘spaces’ as an exercise in contrast and general terrain mapping. A kind of stocktake of where I’ve been and where I am. The first space is ‘Concert’ – acoustic, unedited improvisation in a room with other living, breathing people, sharing the moment as it happened. That old magic that hasn’t failed yet.

The second space is ‘Living’ – an edited excerpt from lengthy, relaxed, nonprecious home recording. More exploratory, less ‘presented’, less immediate and electro-acoustic.

The third space is ‘Cyber‘ and it’s this one to which the new development relates. This is a digital art object designed to be read by the computer as both an image and as a piece of music, both forms arising from the same data. It’s a truly digital object for which a direct analogue equivalent is impossible, and something that can only properly be understood by the computer in digital space. The file read as audio is the third track on the CD. Read as an image, it’s a visual art piece that I’ve just been told has earned a place in the winners group exhibition for the Los Angeles Center for Digital Art’s 2016 international juried competition.

This ambitious agenda produces a rich and challenging listening experience. It’s fitting that Mr. Magee is on a label which has featured artists such as Alfred 23 Harth and Forbes Graham and Ernesto Diaz-Infante because he is doing bold, vibrant, and important work that any fan of those gentlemen would surely appreciate. We’re proud at KSE to have featured Massimo Magee’s work on a number of albums (and he was also on our 10th Anniversary compilation album, which you can still order….and I’ll also announce that he’s scheduled to be on the 11th Anniversary album which will be out in January 2017), and MUSIC IN 3 SPACES is one of his most essential works. Order your copy now. And those in the UK (where MM presently lives and works) should keep an eye/ear out for his live performances.

And while you are ordering your copy of Massimo Magee’s new album, why not check out our OTHER CDR ALBUMS OF CONTEMPORARY FORWARD-THINKING MUSIC 

full-sized CDR’s ($8.00 each, ppd. in US—outside US minimum order of TWO albums….first two albums are $20.00 postpaid, then $8 each postpaid after that )

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

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

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

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

KSE #335, Reverend Raymond Branch, “The Rainbow Gospel Hour…On The Air!”

KSE #334, Brian Ruryk, “Actual Size…degress again”

KSE #333, Ernesto Diaz-Infante, “Tunnels”  solo 12-string “mantra strumming” guitar from this West Coast innovator

KSE #331, KSE 10th Anniversary compilation album with Alfred 23 Harth, Sarah Hennies, Derek Rogers, Massimo Magee, Vanessa Rossetto, Rambutan, Graham Lambkin, Ernesto Diaz-Infante, Brent Fariss, and Matt Krefting.

KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

KSE #328, LISA CAMERON & NATHAN BOWLES, “Liquid Sunshine” percussion duo

KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

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

KSE #310, MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #293, MORE EAZE (Marcus M. Rubio), “Stylistic Deautomatization”



($6 US ppd/$7 elsewhere ppd)

KSE #325 (poetry chapbook), BILL SHUTE, “Trickle-Down City Limits”

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

KSE #347 (poetry-and-photography chapbook), BILL   SHUTE, “MONUMENTAL MOVEMENTS: CASSETTE POEMS THREE”

As always,thanks for your support of KSE and all independent, non-aligned arts organizations. We have to more albums coming out in late June/early July and also a poetry chapbook from Luis Cuauhtemoc Berriozabal. We’ll be closed for the first two weeks in August while travelling in Southern Oklahoma, and then in the Fall we’ve scheduled at least SIX new albums and a number of new poetry chapbooks. Stay tuned….


June 23, 2016

THE PHANTOM GUNSLINGER (Mexico 1967/1970), directed by Albert Zugsmith, starring Troy Donahue

Filed under: Uncategorized — kendrasteinereditions @ 2:46 pm


Starring Troy Donahue, Sabrina, Emilio Fernandez, Carlos Rivas,  German Robles, Elizabeth Campbell, Pedro Armandariz Jr. , and Billy Frick

produced circa 1967, released in Mexico in 1970

produced, co-written, and directed by Albert Zugsmith

(note: this film is included as second feature on a lovely 3-disc Blu-Ray/DVD combo pack from Vinegar Syndrome, accompanying the Russ Meyer/Albert Zugsmith German-lensed production of FANNY HILL from 1964)

As a fan of both producer (and sometime director) Albert Zugsmith and of actor Troy Donahue, I have been interested in this film for decades, but it seemed to have fallen off the face of the earth. The IMDB mentions a VHS release in Germany in the 1980’s, but films issued on PAL European VHS usually find their way into collectors’ trading circles on DVD-R, and this had NEVER surfaced. A clip was online in the mid-1990’s, and I managed to watch a few seconds of it  (not even enough to tell if it was in English or Spanish—-the rumor I’d heard was that it was shot in both) before my dial-up computer crashed. Now, thanks to Vinegar Syndrome (I was a contributor to VS’s initial project, a crowd-funded release of three “lost” Herschell Gordon Lewis sex-oriented films), THE PHANTOM GUNSLINGER is on the bottom of the bill (where it should have played at US drive-ins but, alas, did not) with another Zugsmith project, Russ Meyer’s FANNY HILL, in a handsome 3 – disc set. Clearly, the Meyer film is the drawing card for most viewers, but I’ll leave that to others to review, and indeed, they already have.  I’m old enough to have seen Meyer’s 1970’s output theatrically (and some of the late 60’s items such as VIXEN and CHERRY, HARRY & RAQUEL were still playing theatrically in the mid 70’s) and even got to chat with Meyer himself at the Denver “champagne premiere” of BENEATH THE VALLEY OF THE ULTRA VIXENS at the Ogden Theater on East Colfax, where the director himself poured the champagne, so I’m happy that FANNY HILL (a quirky, troubled production that’s not really typical of Meyer’s work….it certainly would not be the film I showed someone to get him/her interested in Meyer) has made it to Blu-Ray/DVD in a sparkling, eye-popping transfer. However, we’re here to discuss the other film on the program.

I first heard of Zugsmith when I was a teenager in the 1970’s. First of all, his “golden age” films, many of which starred Mamie Van Doren, were given extremely low ratings (often “Bomb”) in Leonard Maltin’s film guide, so THAT intrigued me, and also films such as THE PRIVATE LIVE OF ADAM AND EVE never played on TV, at least in the areas where I lived. Second, when I was in high school, a few of us collected odd and obscure 16mm trailers, which we’d splice into reels and then watch in the HS auditorium. We created a school club for this, believe it or not. One of our handful of club members worked at a theater in Blackhawk/Central City and thus he had access to lots of strange trailers, one of which was called MOVIE STAR AMERICAN STYLE, OR LSD I HATE YOU (circa 1968), which was directed by the same Albert Zugsmith who’d made the Mamie Van Doren films years before. It looked to have been shot in black and white but “color tinted” (as with the Filipino sections of Al Adamson’s HORROR OF THE BLOOD MONSTERS) and the parts I saw also seemed to have been shot silent and post-synced with ironic dialogue and commentary (although as the film has not yet re-surfaced, I can’t swear the whole film is post-synced). While today, anyone can see strange z-grade sexploitation films such a Barry Mahon’s SEX KILLER or the various films of Doris Wishman (and hundreds of films a few rungs BELOW those) on DVD, at the time, I’d never seen any grungy z-grade porn or films such as BABY LIGHT MY FIRE or BLONDE ON A BUM TRIP, so MOVIE STAR AMERICAN STYLE seemed edgy and strange. Also, the super-low budget and grimy quality of the film seemed odd coming from someone who’d once worked with Orson Welles and produced films for MGM. Needless to say, that trailer planted a seed in me, and since then, I’ve sought out any 1960’s Zugsmith films I could find, and yes, the ones I’ve seen such as PSYCHOPATHIA SEXUALIS (aka On Her Bed Of Roses) WERE both grimy and very low budget. And edgy, though not in the manner that most would associate with the word. The trailer for MOVIE STAR AMERICAN STYLE is on You Tube, and it’s somewhat the same as I remembered it (though my memory embellished it a bit over the decades). Let’s watch it before we discuss THE PHANTOM GUNSLINGER: .

Notice the nods to silent comedy—-the very over-the-top slapstick, the ridiculous sound effects (heard on the cut-up versions of silent films that played television in the 50’s and early 60’s, and which was parodied in Jay Ward’s FRACTURED FLICKERS), the pie fights, etc. It’s kind of like an R-rated, scuzzy version of the kind of primitive gag-oriented humor found in Keystone Kops-era Mack Sennett or the films of Larry Semon….or in the trio A Ton Of Fun….the kind of shorts NOT praised as great art the way Keaton or Harry Langdon are. The kind of humor, minus the sex and the decadent Hollywood vibe, is what Albert Zugsmith pursued and took to the limit in THE PHANTOM GUNSLINGER. Comedy westerns had some draw at the box office (think Cat Ballou and TV’s F Troop)  and The Monkees TV series (which seems a BIG influence on Phantom Gunslinger) was both a popular AND a critical hit with its sped-up slapstick and surreal plots and situations, so perhaps Zugsmith felt that a combination of the two would be marketable, amped up and going WAY beyond what anyone else was doing in terms of PURE slapstick, and then taking it lightyears beyond THAT in terms of being self-reflexive and out-cartooning the cartoons. That’s what we’ve got here with THE PHANTOM GUNSLINGER, and say what you will about Zugsmith and his body of work, NO ONE had ever made a film like this before, and no one has made one since.

After his successful run as a producer and then director in the late 50’s and early 60’s, a run that seemed to die out following the release of 1961’s DONDI, based on the comic strip, and 1962’s CONFESSIONS OF AN OPIUM EATER, starring Vincent Price (a pulpy surreal trip of a film that is now available on DVD from the Warner Archive and should not be missed by ANY fans of Price or of the bizarre), Zugsmith seemed to be testing the waters of international production. Films could be made MUCH cheaper in countries such as Mexico or The Philippines, and with Zugsmith’s track record as a successful Hollywood producer to impress the locals in other countries, he probably did not have trouble finding investors and getting support from local authorities. The IMDB lists two shot-in-the-Phillipines Zugsmith productions for 1963, both starring the great George Nader (AFTER his Shannon TV series but before his series of German-made Jerry Cotton crime films), ZIGZAG and THE GREAT SPACE ADVENTURE (ZIGZAG, of course, has nothing to do with the 1970 film of the same name starring George Kennedy). FANNY HILL was made in Germany in 1964, and Zugsmith made a film in Mexico prior to PHANTOM, a strange mystery called THE CHINESE ROOM, that is allegedly based on the famous racy novel by Vivian Connell. CHINESE ROOM can be found among grey-market video dealers if one searches, and it’s a fascinating dream-like film that should be rediscovered. After getting a VHS copy in the 90’s, I tracked down the source novel, and while it’s been almost 20 years since I read it and watched Zugsmith’s film, I remember that very little was taken from the novel beyond the title and some general concepts and a few details. THE CHINESE ROOM shared some cast members with THE PHANTOM GUNSLINGER, so I’m guessing ROOM was made first  and that PHANTOM was the follow-up.

I don’t believe THE PHANTOM GUNSLINGER got a US theatrical release, which is a shame because it’s so ODD that had it been dumped on the bottom of the double-bill at drive-ins, the word-of-mouth about it would have made it a cult film years ago. It also does not seem to have ever gotten in American television rotation…I don’t remember it ever playing UHF stations at 3 in the morning. There are Mexican movie posters of it in circulation (see one below) and it’s listed among Mexican film releases, so we know it played there…which leads me to another question. I’d heard way back when (don’t ask me where) that this was available in both English and Spanish versions, as I believe THE CHINESE ROOM was. The Mexican actors used in the film all seem to be speaking English, so perhaps Zugsmith cast the film with Mexican actors and actresses who also spoke English. What’s the Spanish version like, and where is it? Who knows….

In any event, the print used here of the English version is sparkling and widescreen and far better than one would have expected. The best way to describe THE PHANTOM GUNSLINGER is to say that it revels in taking every Western cliche to and beyond the limit AND it’s kind of like a live-action version of a Road Runner cartoon. The fine musical score is pure cartoon, the acting is broad and exaggerated as much as in a Dean Martin or Carol Burnett TV show skit, some characters have their names and/or functions listed on signs which they wear, and the hero, played by Troy Donahue (who was always good with comedy, particularly in his “second career”), gets killed many times and comes back to life just like Wile E. Coyote. I can’t say that I’ve ever seen anything remotely like this before. Director Albert Zugsmith clearly liked the lowest-brow silent comedy (or perhaps the parodies of them such as Fractured Flickers) and knew how to handle Bowery Boys-style rough-housing, and he serves up both for 90 minutes here. And that might be the problem for the average viewer….in some ways this reminds me of those feature films which grew out of Saturday Night Live skits. They are funny in ten-minute doses, but drag when extended to feature length. Considering that silent comedy shorts were either one or two reels and Three Stooges two-reelers ran for 17 minutes or so, it could be that a full feature film of this kind of low-brow physical comedy and absurdist exaggeration of western cliches is too much for the average viewer.

However, those who enjoy the bizarre and who revel in films which are totally uncommercial will undoubtedly savor THE PHANTOM GUNSLINGER. The print is beautiful, the film is full of eye-popping color and attractive western sets, the original musical score by Gustavo Carreon makes you feel like you are at a circus during the clown sequences, and the entertaining all-star cast of Mexican supporting actors and actresses (in English!) along with Sabrina and of course Troy Donahue (looking a bit like Arch Hall Jr.) make things enjoyable to watch….IF you want 90 minutes of cartoon-style Western comedy made in Mexico. I have a feeling that Albert Zugsmith achieved EXACTLY what he set out to with this film…and I’ll take this unique product from the mind of auteur Zugsmith over 99% of what’s playing at the local multiplex.



June 11, 2016

swinging into Summer 2016 with MONUMENTAL MOVEMENTS…

Filed under: Uncategorized — kendrasteinereditions @ 7:03 pm

Just returned from a stimulating five days in Dallas-Fort Worth, and it’s time to get KSE back up and running again for our June-July set of releases.We’ll be offering two new poetry chapbooks and three new albums in June-July, the first of which is available NOW:



KSE #347 (poetry-and-photography chapbook)

edition of 39 copies, composed Spring 2016

$6 US postpaid / $7 elsewhere postpaid

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

PLEASE include a note with your order indicating which items you are ordering AND your mailing address, which Paypal often neglects to send me. Many thanks for your support.


MONUMENTAL MOVEMENTS is the third in KSE’s ongoing “CASSETTE POEMS” series of poetry chapbooks, new poems inspired by cassette-only releases of experimental music. Previous volumes (now out of print, alas) grew out of time spent with releases by Derek Rogers and Smokey Emery (Daniel Hipolito)….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.

MONUMENTAL MOVEMENTS was the last piece I completed before my writing vacation to Louisiana last month. I produced FIVE new six-page chapbooks during my time there, and those will be appearing over the rest of the year in KSE-format chapbooks. We’ll also be issuing later this summer a professionally published booklet containing the three GULF COAST TRILOGY chapbooks composed in Summer 2015: DOWN AND OUT IN GULFPORT AND BILOXI; THIRTY SECONDS OVER PENSACOLA; and PANAMA CITY BLUES. There will also be other works coming out in professionally printed booklets in an 8″ x 10″ format, along with a kind of “selected poems” full-length book coming out perhaps in 2017 from another press, but it’s the original-format KSE chapbooks which mean the most to me, and MONUMENTAL MOVEMENTS is a good example of the possibilities of that format.

Grab a copy now as it’s a small 39-copy edition and the previous cassette poems volumes went fast. Since this is a poetry-and-photography chapbook, it’s probably NOT going to be republished ever in anything like the original format.

And while you are ordering MONUMENTAL MOVEMENTS, why not pick up a few of our recent album releases!

full-sized CDR’s ($8.00 each, ppd. in US—outside US minimum order of TWO albums….first two albums are $20.00 postpaid, then $8 each postpaid after that )payment via paypal as above)

KSE #335 (CDR), REVEREND RAYMOND BRANCH, “The Rainbow Gospel Hour…On The Air!”

KSE #334 (CDR), BRIAN RURYK, “Actual Size…degress again”



and some of the other recent poetry chapbooks:

KSE #325, BILL SHUTE, “Trickle-Down City Limits”

KSE #329, BILL SHUTE, “Good To Do, Good To Have Done”

poetry chapbooks are $6 postpaid in the US / $7 postpaid elsewhere


We’ll be offering amazing new albums from MASSIMO MAGEE and from ALFRED 23 HARTH in the next month. Stay tuned….and as always, thank you for your support of KSE…



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