Kendra Steiner Editions

May 29, 2019

2019 writing vacation in SW Louisiana and East Texas

Filed under: Uncategorized — kendrasteinereditions @ 11:54 am

You never know what curves life will throw you at the last minute…

I’ve been talking about my two-week writing vacation in Tulsa this June, in a cottage on the banks of the Arkansas River, since I booked it last November. Unfortunately, with the flooding of the Arkansas River in the area of Tulsa where I’d be staying, I needed to make some alternate plans. So, I’ve made alternate plans for a new locale for my poetry work: half on a ranch on the Texas/Louisiana border, and half on the banks of the lake in beautiful Lake Charles, Louisiana, always one of my favorite places.

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As most readers of this blog know, I evolved from 5-8 page poems to book-length works about two years ago, spending about a year working on AMONG THE NEWLY FALLEN (available now internationally via Amazon–go check it out and order one!), and then spending the last 10 months or so working on a new 60-page long-form poem, RIVERSIDE FUGUE. The latter is about 85% written, and I’ll be finishing it among the cattle (see pic below) in East Texas, a few miles from the state line with LA, and then editing it in beautiful Lake Charles, Louisiana. No horse-racing at Delta Downs this trip, alas, but that will just give me more time to apply to the poetry.

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I’ll be gone from June 1-June 12. Text me if you need me for anything—-I’ll only be online once every few days, if that. I hope to have RIVERSIDE FUGUE ready for publication sometime in the Fall.

See you again in mid-June….

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May 27, 2019

Nick Garrie, Live in-studio performance on Radio Capodistria (Koper, Slovenia), 14 May 2019

Filed under: Uncategorized — kendrasteinereditions @ 3:33 pm

Legendary folk-psych troubadour NICK GARRIE recently did an 8-city, 5-country tour of central Europe in celebration of the 50th Anniversary of his classic 1969 album The Nightmare Of J.B. Stanislas. The acclaimed singer-songwriter did a live in-studio set, broadcast of Radio Capodistria, broadcast throughout Slovenia, and it is a beautiful solo-acoustic performance running 80 minutes. Garrie mixes well-loved chestnuts from his back catalogue with more recent compositions (and tells us the backstory of them) and a few well-chosen covers. It’s the kind of show you’d be happy to purchase a CD of if it were available for sale, but you can watch/listen to the show online via You Tube. The link is below the tour poster….settle back and enjoy as you are taken on a journey through a half-century of song….

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Nick Garrie, Radio Capodistria (Slovenia), 14 May 2019

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May 20, 2019

coming in September 2019, ‘Gertrude Stein Has Arrived: The Homecoming of a Literary Legend’ by Roy Morris, Jr.

Filed under: Uncategorized — kendrasteinereditions @ 12:10 pm

GERTRUDE STEIN HAS ARRIVED: THE HOMECOMING OF A LITERARY LEGEND

by Roy Morris, Jr.

to be published September 2019 by Johns Hopkins University Press (264 pages)

gertrude in america

Very excited to learn about this forthcoming book on Gertrude Stein’s return to the United States in 1934-1935 for 171 days, a period during which she gave 74 lectures in 23 states, including one right down the road from me at the University of Texas in Austin!

Also excited to see that the person behind this project is Roy Morris, Jr., acclaimed Civil War historian, whose insightful works on Mark Twain and Walt Whitman have the benefit of a writer who knows intimately the cultural history of the eras in which the works were created but also has a fine eye for literary technique….and is one of the more literary popular historians writing today. Stein is truly an author in the “classic American” tradition of a Twain or a Whitman….she certainly viewed herself that way in any number of comments about herself and her role as an author.

Though she wrote mostly in a unique and uncompromising style, it was a style that was not based on the reader possessing any esoteric knowledge or the ability to recognize obscure allusions (as in, say, the work of Ezra Pound), and once readers “got” the concept of the work at hand (there are probably five or six major “styles” within Stein’s arsenal) and began to hear the always-clear voice behind the works, they essentially read themselves to you. They dictated how they would be read. Anyone who could understand then-contemporary movements in the other arts would really not have a problem “getting” what it is that Stein was doing. Whether they wanted to read long avant-garde works by her was another story. How much of the public would want to attend a massive Cy Twombly exhibition, for instance; yet one could explain the methodology of his work in 30 seconds in layperson’s terms to anyone, in the same way that one could “explain” the methodology of John Cage’s Number Pieces easily to any layperson. They are what they are. Of course, upon “understanding” the concept behind these artists’ pieces, some would ask, “why would anyone do that?” And they certainly have a right to feel that way. However, the works are not inaccessible without some kind of “key” or merely acting in the service of some critical theory.

Stein’s best-selling somewhat-fictionalized memoir THE AUTOBIOGRAPHY OF ALICE B. TOKLAS made her a celebrity in popular culture, to the point that she is mentioned in books and films and radio shows of the mid-30’s. The Autobiography was written in an accessible style that was still 100% Stein and was a pleasure to read. It surely led to tens of thousands of readers finding and enjoying her other works. Once one gets the Stein habit, it does not go away, and there is such a large body of work to savor and be fascinated and transfixed by. The collection of her lectures from this tour of the USA, LECTURES IN AMERICA, was one of the first Stein books I owned (before I’d read many of the pieces she discusses in the lectures!), and I devoured it. The lectures are written in her characteristic style of expression, and as mentioned above, they essentially read themselves to you, as the reader lets go and allows the powerful rhythms of Stein’s language to carry them along like undertow at a Gulf Coast beach when you’ve gone out thirty or forty feet.

If you’d like to get a basic overview of the Stein American tour of 1934-1935, why not read an excellent article from Smithsonian Magazine in 2011, “When Gertrude Stein Toured America,” by Megan Gambino. Here’s the link to that…..                                  Smithsonian article on Stein’s 1934-35 US tour

Also nice to see that this is a Johns Hopkins University Press publication. Their 1995 reprint of Stein’s LAST OPERAS AND PLAYS, with an insightful introduction by Bonnie Marranca, is never far from my nightstand. Also, let’s not forget that Stein herself was a student at the Johns Hopkins School of Medicine at one time, and it put a smile on my face to see that at Johns Hopkins University today, here in 2019, over 110 years after Stein attended Johns Hopkins, there is a student organization called THE GERTRUDE STEIN SOCIETY, “an organization for lesbian, gay, bisexual, transgender, queer, intersex, asexual, and allied members of the Johns Hopkins Medical Institutions, including the Schools of Nursing, Public Health, and Medicine.” You can read more about that group here: Gertrude Stein Society at Johns Hopkins U

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May 15, 2019

upcoming reviews for Ugly Things #51

Filed under: Uncategorized — kendrasteinereditions @ 9:00 am

Seems like I was just announcing my pieces written for Ugly Things #50….now I’m working on SEVEN reviews for UT #51. They are due in mid-June, but I’ll need to get them done before I take off for my poetry writing vacation in Tulsa in early June–so these pieces are what I’ll be working on the next few weeks, in between job responsibilities, of course.

All of the albums are very worthwhile items containing little-known and under-appreciated music (the Reggie Young album does have some hits on it, but it’s meant to be a sampler of his sideman work on various Memphis sessions, so you listen to the music differently when you focus on Reggie’s guitar work, and it contains a staggeringly eclectic combination of artists he’s working with)–I’m  happy to get the word out about them. The Bill Haley biography from Bill’s son (the second book written by one of his sons….John Haley had a fine book out about 20 years ago) has been anxiously awaited, and this review will give me a chance to step back and do the kind of career survey on Bill that I’ve wanted to do for years (I reviewed a German collection of his early 48-51 country material many years ago for UT). He’s yet to receive his proper acclaim, though most people know his name, and I fear that most reviews of this book will seize upon the revelations from his personal life and dwell upon the fact that he was not the model parent to the children of his first two marriages (or the model husband to his first two wives). Bill Jr. has had decades to come to terms with this unfortunate situation, and he’s presented an honest but fair book. Fortunately, as Bill Sr. never received an award for being a model parent (and thus can’t be accused of hypocrisy), we can focus on the music, and fortunately the book delivers an enormous amount of detail on that front (one early review of the UK edition blamed to book for being “too factual”!!).

Here are the seven items, six albums and one book:

THE CHANCES, “Baby, Listen To Me” (Nor-Va-Jak, CD) 

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WILLIE AND THE RED RUBBER BAND (Nor-Va-Jak, CD)

ut51 two

BOBBY WOOD, “If I’m A Fool For Loving You: The Complete 60’s Recordings” (RPM, CD)

ut51 three

REGGIE YOUNG, “Session Guitar Star” (Ace, CD)

ut51 four

TOMMY HUNT, “The Complete Man” (Kent, CD)

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v.a., “POPPIES: ASSORTED FINERY FROM THE FIRST PSYCHEDELIC AGE” (Craft Recordings, LP/CD), psychedelia from the vaults of Vanguard, Original Sound, and Stax’s “Hip” subsidiary, compiled by Alec Palao

ut51 six

CRAZY MAN CRAZY: THE BILL HALEY STORY, by Bill Haley, Jr., and Peter Benjaminson (UK/US book, released May 2019)

ut51 seven

As always, UGLY THINGS presents a wide variety of exhaustive coverage of lesser-known rockin’ music from the 60’s but also the 50’s and 70’s and is one of the few essential music magazines out there….30+ years and now 50+ issues! Proud to be a part of the UT team for 30+ years myself, working with editor/publisher Mike Stax. Just look for the Bill Shute credit in the reviews section (the book review will be near the front of the mag, the music reviews are always near the back) as you are spending an entire weekend reading the new UT cover to cover.

May 10, 2019

interviews from the Fillius Jazz Archive at Hamilton College

Filed under: Uncategorized — kendrasteinereditions @ 2:47 pm

Recently, someone in a Benny Goodman discussion group I belong to posted a link to an interview with bandleader/pianist Skitch Henderson (perhaps best known to people my age as leader of the Tonight Show band during the Steve Allen and early Johnny Carson eras), who discussed his work with Goodman during part of the interview. The interviewer was a knowledgeable fellow, a musician himself (who could discuss specific musicians’ favorite keys and the like effortlessly), Monk Rowe, who knows just what questions to ask and then how to lay back and let the musicians share priceless stories and details which, were they not to tell them in these interviews and have them documented via audio and video and transcription, would probably fade into ashes eventually, along with the musicians themselves.  Jazz history needs to be preserved. 

Doing a little research after hearing the interview with Henderson, I found that there are HUNDREDS more interviews at the Archive’s You Tube channel and many more resources of all kinds at the college’s website.

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Here are the links to get you started:

100+ video interviews from the Fillius Jazz Archve at You Tube

audio interviews and interview transcripts at the Hamilton College website

among the hundreds of musicians interviewed, NAT ADDERLEY, RASHIED ALI, BILLY BAUER, JOANNE BRACKEEN, RAY BROWN, RUTH BROWN, BUDDY COLLETTE, KENNY DAVERN, BUDDY DeFRANCO, RAY BRYANT, JOHN BUNCH, JOE BUSHKIN, and hundreds of others with surnames that begin with letters after “D.”

This is a treasure trove of material. If you want to hear musicians you love who have worked with and lived with and known both on a personal level and on the bandstand night after night musicians as diverse as Duke Ellington, Bunk Johnson, Charlie Parker, Sidney Bechet, Art Hodes, Benny Goodman, Billie Holiday, and a zillion others, put the Archive’s You Tube channel on while you are working (that’s what I’m doing), and just wade in the wisdom…let these masters share the trade secrets with you, and let the tradition continue on….

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FRANK WESS, interview from the Archive

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ROSEWELL RUDD, interview from the Archive

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