Kendra Steiner Editions

July 13, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 4:18 pm

ALFRED NICOLA NEW COVER 2018

ALFRED 23 HARTH / NICOLA L. HEIN

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

Cover pencil drawing by A23H from 1975 in New York

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

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

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

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

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

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

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

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

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

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

Alfred 23 Harth, July 2018

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

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

Harth Hein at Pit Inn Studio, Tokyo

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

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

NOTE: ALL FULL-SIZED CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $15 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.75 to mail ONE cdr without a jewel box to Europe or Asia!)

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Also available from KSE:

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

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

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

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

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

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

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

KSE #390 (CDR), MATT KREFTING, “Microchips”

KSE #385 (CDR), TOM CREAN, “3 Heads Tame”

KSE #379 (CDR), SHANGHAI QUINTET (featuring ALFRED 23 HARTH)“ShangShan/Stone Age Music” (Harth and young Chinese musicians, recorded live in Shanghai, China, October 2016)

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

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

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

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

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

ALFRED NICOLA NEW COVER 2018

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July 11, 2018

Summer 2018 Poetry Update

Filed under: Uncategorized — kendrasteinereditions @ 12:57 pm

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

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

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

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

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

BILL AND MIKE 2018

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

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

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

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

July 5, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 1:45 pm

CONTEMPORARY SHAMISEN DUO (Ryota Saito / Joshua Weitzel)

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

original cover artwork by MP Landis   

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

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

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

JOSHUA album cover 2018 corrected

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

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

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

————————————————-

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

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

NOTE: ALL FULL-SIZED CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $13.75 to mail ONE cdr without a jewel box to Europe or Asia!)

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Also available from KSE:

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

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

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

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

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

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

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

KSE #390 (CDR), MATT KREFTING, “Microchips”

KSE #385 (CDR), TOM CREAN, “3 Heads Tame”

KSE #379 (CDR), SHANGHAI QUINTET (featuring ALFRED 23 HARTH)“ShangShan/Stone Age Music” (Harth and young Chinese musicians, recorded live in Shanghai, China, October 2016)

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

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

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

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

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

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

 

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