Kendra Steiner Editions

April 13, 2018

solo percussion from DANE ROUSAY (KSE #398), “An Inevitable Solution (To)”

Filed under: Uncategorized — kendrasteinereditions @ 7:31 pm

dane 2018 cover

DANE ROUSAY (solo percussion)

“AN INEVITABLE SOLUTION (TO)”

KSE #398, cdr album      $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 welcome San Antonio’s own DANE ROUSAY back for a second percussion-based album. The first one ANATOMIZE (KSE #373, now out of print) was composition based, but with a lot of room for individual decisions and spontaneity by the players. This new album, AN INEVITABLE SOLUTION (TO), is improvisational, but Dane’s improvisations (like those of label-mate Massimo Magee–and by the way, the two of them are hoping to perform together in London later this year!) are rigorous yet playful investigations of the possibilities of the instruments. The five solo percussion pieces on this album are not unlike the material Dane performed in the amazing four-hour ‘Endurance’ performance done earlier this year on the bank of the San Antonio River behind Ventura. With the artist’s demanding schedule of live performance throughout Texas and the Midwest, ideas are able to be road-tested on a nightly basis, and new elements work their way into the percussion through the influence of many and varied collaborations in demanding live performance.

I’m someone who grew up listening to a lot of percussion music–the many pieces for percussion by John Cage; all-percussion albums such as “Schlingerland” by Sven-Ake Johansson and “Fiesta In Drums” by Christian Vander and Frank Raholison were LP’s that I played the grooves off of, not to mention the percussion onslaughts of Rashied Ali and Sunny Murray, and the avant-chamber-jazz percussion of Barry Altschul with Paul Bley’s group. Many times when I’d be listening to an Archie Shepp album for the umpeenth time, I’d be focusing on the drumming of Beaver Harris. And as a lifelong Ellingtonian, I still marvel at the unconventional and totally original playing of Sonny Greer on countless sessions and broadcasts. Fortunately, KSE has been able to offer a platform for percussionists and composers-for-percussion. Lisa Cameron has done at least a half-dozen albums for KSE, early in our run we were proud to have issued an album by Sarah Hennies (whom Mary Anne and I used to see often doing solo percussion in Austin, in the 2007-2011 period–she also appeared on the KSE 10th Annivesary album) and just last year we featured solo percussion albums from both Dane and John Bell. The Bell album is still available (grab one–see ordering info below). Yes, we at KSE believe in the beauty and the infinite possibilities within the world of percussion.

This album very much speaks for itself, and Dane’s comments on it were brief: “This set of recordings is improvised almost entirely and has a certain thoughtfulness and immediacy behind it. I do not believe a composed album of any sort would be able to capture the emotions and emotional release that I feel this album grew from and provides (for the listener). ”  Agreed! This is an album you can just put on repeat (you’ll lose all sense of time while living in its world) and live with…and live within.

The intensity of a Dane Rousay live performance is captured well here, but at the same time it’s a great-sounding and deep studio recording, so you’ve got the best of both worlds.

Speaking of live shows, Dane will be all over in the next few months with all kinds of combinations of collaborators. Catch them when they’re in your area. Here’s a tentative list (be sure to check with the venue first in case of changes….or check Dane’s Facebook page):

4/23/18 – Dane Rousay / Brandon Lopez / Ingebrigt Håker-Flaten @ Volstead Lounge (Austin, TX)

4/24/18 – Dane Rousay / Brandon Lopez @ Ventura (San Antonio, TX)

4/25/18 – Dane Rousay / Megan Easley / Dave Dove w/ Brandon Lopez @ Alabama Song (Houston, TX)

4/26/18 – Dane Rousay w/ Brandon Lopez @ Full City Rooster (Dallas, TX)

4/27/18 – Dane Rousay / Brandon Lopez @ Layalina (Denton, TX)

4/28/18 – Dane Rousay / Brandon Lopez @ Matador Recording Studios (San Antonio, TX)

5/9/18 – Dane Rousay @ Opolis (Norman, OK)

5/10/18 – Dane Rousay / Michael Foster Duo @ Duet (St. Louis, MO)

5/11/18 – Dane Rousay / Michael Foster Duo @ The Spot (Lafayette, IN)

5/12/18 – Dane Rousay / Michael Foster Duo @ Listing Loon (Cincinnati, OH)

5/13/18 – Dane Rousay / Michael Foster Duo @ Betty’s (Nashville, TN)

5/14/18 – Dane Rousay / Michael Foster Duo @ The Nest (St. Louis, MO)

5/15/18 – Dane Rousay @ State Street Pub (Indianapolis, IN)

5/16/18 – Dane Rousay @ Lalaland (Fayetteville, AR)

5/28/18 – Dane Rousay / Thomas Helton @ Volstead Lounge (Austin, TX)

7/19/18 – Dane Rousay / Vicky Mettler @ Ventura (San Antonio, TX)

8/16/18 – Dane Rousay / Parham Daghighi @ Sonic Transmissions Festival (Austin, TX)

You can get a copy of the album from the artist while on tour, but why wait….order YOUR copy of AN INEVITABLE SOLUTION (TO) now direct from KSE….and pick up a few other of our fine albums of contemporary experimental music (or poetry) while you’re at it. See below for ordering info….

NOTE: ALL 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 $14.50 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 items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

now available for immediate shipment:

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

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

KSE #395 (CDR), 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”

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

KSE #394 (CDR) XTERIP , “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 (CDR) JOHN BELL (new for July 2017), ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

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

As always, thank you for your support of KSE (now in our 13th year of operation!) and of all independent arts organizations….and thank you for buying a physical copy of this album. We believe in not only the work, but the work as preserved through the artifact, whether it be CDR albums or poetry chapbooks (all hand-cut, hand-assembled, home-made)

dane 2018 cover

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November 30, 2017

Dane Rousay four-hour uninterrupted solo percussion performance, Tuesday 5 December at Ventura (San Antonio)

Filed under: Uncategorized — kendrasteinereditions @ 6:11 pm

dane endurance

KSE recording artist DANE ROUSAY, a fellow San Antonio resident, will be doing a FOUR-HOUR (!!!!) uninterrupted solo percussion performance next Tuesday night, at Ventura here in S.A. This should truly be an event….and it’s one I do not want to miss.

He will have copies of his KSE album, released earlier this year, ANATOMIZE (KSE #373) for sale at the show. Hope to see any of you within driving distance there. Yes, it’s a weeknight, but that’s why they make coffee and energy drinks. I’ll just have an extra espresso or two when I get up for work at 5:45 the next morning….

DANE ROUSAY

Four hour uninterrupted  solo percussion “ENDURANCE PERFORMANCE”

Tuesday 5 December, 8 pm to midnight

Ventura SATX, 1011 Avenue B, San Antonio

donations accepted, with all proceeds going to Pride Center–San Antonio

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FROM THE SHOW ANNOUNCEMENT:

Dane Rousay will be performing a solo set of acoustic percussion. This performance will last four hours. Rousay will receive no breaks and there will be no outside collaborators.

This is an endurance-based performance – pushing creative boundaries as well as physical ones.

Donations will be pushing social boundaries – advocating for change/support within the San Antonio community.

………………………

sign up on the Facebook event page:  https://www.facebook.com/events/318749585197584/

 

August 3, 2017

Bill Shute poetry reading at Right Now Experimental Music Festival, Sat. 5 Aug, 7 pm, also with performances by More Eaze and Dane Rousay!

Filed under: Uncategorized — kendrasteinereditions @ 10:03 am

RIGHT NOW

Just a reminder (locals and friends of the KSE Facebook page already know this) that I’ll be doing a poetry reading as part of the RIGHT NOW EXPERIMENTAL MUSIC FESTIVAL at Artpace here in San Antonio this Saturday, 5 August, at 7 pm.

Poems read will include

–FIND A PLACE TO DIE (dealing with the current national nightmare, presently available from KSE)

–GUIDE DOGS AND BARTENDERS ON THE GULF COAST

–MELTDOWN (one of the recent Natchez poems, presently available from KSE)

–44  HARMONIES (inspired by the John Cage composition “44 Harmonies From Apartment House 1776”)

–and also, Dane Rousay and I will be doing a poetry-and-percussion duo performance based on my 2009 poem BUTTERFLY MIND.

Many acts will be featured from 3-11 pm, but those with a KSE connection are conveniently back-to-back…..More Eaze will follow my reading, at 7:30, and Dane Rousay in a duo with Svetlana Zwetkof will be performing at 8. Admission is only $5….and FREE if you arrive before 5 pm. Please stop by and say hello before or after the reading. See you there.

 

July 1, 2017

“Anatomize” (KSE # 373), new compositions for percussion from San Antonio’s DANE ROUSAY

Filed under: Uncategorized — kendrasteinereditions @ 2:02 pm

DANE COVER

DANE ROUSAY, “ANATOMIZE” (KSE #373) CDR album

compositions for percussion, guest vocals on two tracks from Svetlana Zwetkof

$8 postpaid in the USA  (see below for foreign pricing and ordering instructions)

Excited to welcome San Antonio composer and percussionist DANE ROUSAY into the KSE family. He’s been very active on the experimental music scene in Central Texas (and throughout the midwest and mid-south) as a performer, composer, organizer, broadcaster, and collaborator….and we commissioned him to create a new album of compositions for percussion, one of TWO albums of new compositions for percussion KSE is releasing this summer (the other one, by John Bell—-well-known as a duo partner with Alfred 23 Harth—-will be out later in July). Percussion is perhaps the earliest form of music (not including voice), and I grew up listening over and over to the John Cage prepared piano pieces and compositions for percussion, and the piano trios of Paul Bley, where the inventive and subtle percussion of Barry Altschul was an equal partner, and I would focus on Altschul’s playing. KSE has been featuring new dimensions in amplified percussion on our many albums by Austin’s LISA CAMERON for a number of years now (and she’ll be back in the Fall with another), and early in our run we featured an album of percussion composition by Sarah Hennies (who also contributed a piece to the KSE 10th Anniversary compilation album), so Dane is following in a proud tradition….and his album is completely different from any of the above! Here are the composer’s comments on “Anatomize”:

“anatomize” is an album made up of improvisational and premeditated percussion works (tracks 4, 5, and 6 also feature the human voice and electronics). As the title suggests, the album revolves around a central theme of deconstruction throughout. 

The improvisational pieces are sonic explorations of the very literal parts (from drum shell to screws and washers) of the traditional drum set. The premeditated works on “anatomize” are intended to magnify minimalist percussion in a way that fixates on rhythmic repetition to an extreme. 

The anatomical theme throughout comes from the desire to explore specific sonic ideas without the use of any traditional sense of form. Rather than something being the sum of its parts, I felt it would be interesting to first explore each idea individually –removed from the context of the whole. 

ANATOMIZE is a fascinating and curiously beautiful album, understated yet edgy, close-miked, like a series of Twombly paintings come to life in a four-dimensional dream—-the two tracks with wordless vocals from Svetlana Zwetkof add a playful and sensual contrast to the percussion work, and the track “Aloof” with its multiple I-Phone counterpoint will have you wondering what’s on the album and what’s outside the album in the nearby environment….that questioning is always a good thing IMHO. As someone who goes to sleep each night with the sounds of two or three different un-related wind chimes drifting in and out of my consciousness, I highly recommend ANATOMIZE! It’s roots music from another dimension….

ANATOMIZE is available NOW….and tonight, at Limelight here in San Antonio, Dane will be performing solo, in an ensemble, and with The Freebiez at an album release party starting at 9 p.m. He just concluded a few months of extensive touring, hitting many experimental-music venues between here and Chicago, and he’ll hit the road again in August. You can check out his activities at www.danerousay.com

ORDERING INFORMATION FOR ANATOMIZE:

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 items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

All CDR’s are $8.00, postpaid in the USA.

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! Suggestion: if you are ordering from overseas, why not one of our excellent recent releases as your second album (for just $2 extra from the cost of 1 album because of the odd international postage rates!). Only $20 postpaid outside the US for any two available KSE albums.

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

OTHER ALBUMS ALSO AVAILABLE FOR THE SAME PRICE:

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

KSE #375, MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible”

KSE #372, ERNESTO DIAZ-INFANTE, “MANITAS” uninterrupted solo classical guitar performance, 44:25

KSE #369, A. F. JONES, “FOUR DOT THREE TO ONE”

KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems

KSE #370, “KSE 11th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family and friends: JEN HILL, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, LISA CAMERON, BRIAN RURYK, FOSSILS, MORE EAZE, JOHN BELL, MASSIMO MAGEE, MATTHEW REVERT, STEVE FLATO

KSE #355 (CDR), MORE EAZE, “wOrk”

KSE #357 (CDR) SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

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

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

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

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar

As always, many thanks for your support. We have five album releases scheduled for July-August, four music and one poetry. Stay tuned for further details….

 

April 3, 2017

Dane Rousay tour info

Filed under: Uncategorized — kendrasteinereditions @ 1:36 pm

KSE will be issuing a new album from San Antonio-based percussionist/composer DANE ROUSAY in July,  so we wanted to share Dane’s tour info with you all….he’ll be playing through Texas/Oklahoma and the Midwest in June, so catch a performance near you. Just look up the venue locally for more info. However, two of the shows feature MULTIPLE KSE ARTISTS, so even if we have nothing to do with the event, we’d  like to think of it as an honorary KSE event!

dane 1

DANE COVER

DANE ROUSAY, “anatomize” (KSE #373), coming in July 2017

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Dane is touring in support of his new solo cassette, BLIP….you can buy a copy at any of his shows or check his website   danerousay.com    for ordering information

dane blip

4/13/17 – Dane Rousay (solo) @ Imagine Books & Records (San Antonio, TX)

4/14/17 – Dane Rousay (solo) @ Shipping & Receiving (Fort Worth, TX)

4/15/17 – Dane Rousay (solo) @ Resonator (Norman, OK)

4/16/17 – Dane Rousay (solo) @ Backspace (Fayetteville, AR)

4/17/17 – Dane Rousay (solo) @ The Outland (Springfield, MO)

4/18/17 – Dane Rousay (solo) @ Foam (St. Louis, MO)

4/20/17 – Dane Rousay (solo) @ Slate Arts & Performance (Chicago, IL)….this show also features KSE artist JEN HILL….don’t miss it!

dane jen

4/21/17 – Dane Rousay (solo) @ The Spot (Lafayette, IN)

4/23/17 – Dane Rousay (solo) @ ph Community House (Tulsa, OK)

4/28/17 – Rousay/Taylor Duo @ Ventura (San Antonio, TX)   This is a local show here in San Antonio and also features longtime friend of KSE, Austin’s LISA CAMERON, doing her first-ever San Antonio VENISON WHIRLED performance! Don’t miss this one….we’ll be there with copies of the recent KSE releases, available cheap!

dane sa

4/29/17 – Jejune Stars @ Imagine Books & Records (San Antonio, TX)

4/30/17 – Dane Rousay (solo) “Resonance: Loops Experimental Music Fest” @ Resonator (Norman, OK)

5/1/17 – Dane Rousay (solo) @ Avant Garden (Houston, TX)

Dane also has an excellent show featuring experimental music and contemporary underground bands on micro-labels…THE WHATEVER SHOW….it’s on 10 pm Central Time Saturday night on the great Trinity University radio station. Here’s the link: https://krtu.trinity.edu/ . Just go to the upper left-hand corner to LISTEN LIVE to the station….and if you live here in San Antonio, it’s at 91.7 on your FM dial. You can pretty much leave your dial set to KRTU anytime, but to learn more about the Whatever Show, check out the Facebook group at  https://www.facebook.com/theewhatevershow/

August 17, 2019

100 KSE MUSIC RELEASES ON DISCOGS

Filed under: Uncategorized — kendrasteinereditions @ 7:41 pm
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discogs 1

Between 2009 and December 2018, Kendra Steiner Editions released nearly 140 CDR’s (some of the earliest ones being 3″ mini-cdr’s) of experimental music and other genres (higher-key psychedelia, gospel, poetry, etc.). We closed down the label on December 7, 2018 (as FDR once observed, “December 7th, a day that will live in infamy”). Pretty much every week now in mid-2019, I still get an e-mail or two from someone who is looking for a particular release–in some cases a past customer who missed something at the end of our run, in other cases someone who probably Googled the name of a favorite artist (Matt Krefting, Alfred 23 Harth, Lisa Cameron, The Garment District, Fossils, Tim Olive, More Eaze, Derek Rogers, etc.), saw the listing of their KSE release on this website, and assumed the item was still available.

I usually reply to these communications with a short note saying that ALL KSE MUSIC RELEASES ARE SOLD OUT–PLEASE CHECK THE SECONDARY MARKET FOR ANY AVAILABLE COPIES ON PLATFORMS SUCH AS DISCOGS….and truly, at this point, that is your best option. I know that some people who were sent promo/review copies sold them, and it seems as though some folks who bought and enjoyed their albums made digital copies and sold the physical copy. For your convenience, here is the link to the KSE page at Discogs, where presently there are 107 copies of various KSE releases available, most at reasonable prices. Go for it!

KSE releases at Discogs

A number of KSE artists (More Eaze, Massimo Magee, etc.) have already made their KSE releases available digitally, so I would encourage you to check the artists’ websites to see if they are offering downloads. Also, for some of the releases from recent years, it’s entirely possible that the artist still has a few copies that they are selling at shows. I always tried to be generous with artist copies, and provided restocks. Of course, you should DEFINITELY check out any KSE artist who is playing in your area… and  you should be checking out live music of all kinds in your area—-even at my age, I still go out to see local music artists and touring independent artists at small venues probably every other weekend, sometimes more often. Just a few days ago, while we were in Fort Worth, I caught trumpeter ALCEDRICK TODD’s Wednesday night residency at the Scat Jazz Club on 4th St., and it was an amazing experience (check them out when you are in the DFW Metroplex). If musicians and artists of any stripe can go out there and present their creations to strangers and put themselves on the line, then we audience members owe it to ourselves to check out new music and art, particularly artists new to us, because new and fresh cultural products make life richer and more worthwhile. Oh, you’ll occasionally encounter a dog (no offense to canines intended)—-while in Fort Worth, we saw a new production of a work from a local playwright which was abysmal. Oh, the players were all fine, and the production was well-organized and presented, and the direction kept the complex, fast-moving events and scene and costume changes coming with no slip-ups, but the play itself was a labored, loud, desperate, and tacky attempt at comedy which sucked badly (I won’t identify to venue or the playwright, as I don’t want to torpedo any Texas artists….he may well write something wonderful next year). However, if I did not once again take the chance and see a work new to me by an artist new to me, I would have missed the last 7 plays I’ve seen in the last year which were amazing! Chance involves risk, but the risk is well worth taking. And if I do poetry readings or poetry-and-music performances myself, or give a lecture on poetry or film at some local venue, and I expect people to show up for that, should not I do the same for others….

discogs 2

Getting back to KSE, in the case of artists such as ALFRED 23 HARTH, or MATT KREFTING, or ERNESTO DIAZ-INFANTE, or JENNIFER BARON/THE GARMENT DISTRICT, or LISA CAMERON, or MASSIMO MAGEE, or SARAH HENNIES, or CLAIRE ROUSAY, or TIM OLIVE, or SMOKEY EMERY, or DEREK ROGERS, or SIR PLASTIC CRIMEWAVE, or the late REVEREND RAYMOND BRANCH,  pretty much ANYTHING these artists do is important and worthy of staying in print permanently. I would not be surprised if some years down the line some of Harth’s or Krefting’s or Magee’s KSE albums are reissued on vinyl. These albums are out there in the world, and their effect will continue to reverberate across the decades.

Mary Anne and I are extremely appreciative of your support for our music releases over the years.

Please note, though, that there are at least two dozen regular KSE releases, and probably more, which are NOT on Discogs.  If you own one of them, could you please put up a listing with a cover scan? You can find scans of most of the covers here on this website, so you could just copy that if you’d like. I would hope to get all of our releases up there eventually, in order to document the work which we all did together. Thank you in advance for any help you can provide in that area.

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Also, if you are a KSE completist, you know that I would sometimes slip a free item in with your order, and in the last two years of our operations, that might be one of our unadvertised “private releases” of public domain material. NONE of those were ever listed on Discogs—-indeed, I did not list them by name on our discography here on the KSE website, only stated “private release” and gave its initials. If you own one of those, you should consider putting that up on Discogs too. There were 13-15 “private releases” of public domain material (swing bands, gospel, 1940’s and 1950’s radio detective programs, 20’s dance bands, music from cylinders, etc.), which were never advertised and only given away to customers who ordered multiple items in a particular two-week period when that limited release was being distributed (these private releases were usually run in editions of between 10 and 20). They were all assigned number consecutively with the regular releases and are part of the KSE legacy.

riverside cover

Finally, KSE continues on, but in a new incarnation, as an imprint for Bill Shute poetry books, professionally published and distributed internationally via your local Amazon supplier wherever you are. These are all attractive, perfect-bound paperbacks, and the most recent two (AMONG THE NEWLY FALLEN in 2018, and RIVERSIDE FUGUE in 2019) are newly composed book-length poems, running between 45 and 60 pages. I am presently working on another of these (they take about a year to complete), tentatively titled TOMORROW WON’T BRING THE RAIN, and hope to have it done by Summer 2020. They are not available through the KSE website. I’ve also had a few poetry books come out from other presses, both in North American and in Europe, in the last few years, and I try to put ordering information about those here so you can purchase them directly from the publisher. In 2020, I should have a Selected Poems volume covering 15 years of work, JUNK SCULPTURE FROM THE NEW GILDED AGE, coming out from a German publisher, and I’ll certainly give the ordering information for that when it’s out.

Until then, if you’d like to investigate my latest book-length poem, here is the info:

BILL SHUTE, ‘RIVERSIDE FUGUE’ (KSE # 414)

a book-length poem in three sections:

I, SETS AND SIMULATIONS; II, PLUNDER AND ADAPTATION; and III, PRETENDING AN INTEREST
66 page perfect-bound paperback, composed 11/2018 – 6/2019 in Texas and Louisiana

available at all Amazon outlets in North America and Europe as a local purchase
US customers may order at    https://amzn.to/2XYxm5h

 

I’ll continue to write about music, film, literature, and other issues here at the KSE blog, so keep checking in. I’ll try to get an average of at least one entry up on the blog weekly. If you are a reader who knows me from UGLY THINGS or BLOG TO COMM, welcome. The focus and writing style is different for each venue. However, the KSE blog is the place to come to keep up on whatever I’m doing for whatever market… and the place to learn about books, films, music, visual art, comics, etc. which I feel need championing, and which I feel many of you will enjoy and be happy to have discovered.

Adios for now, in mid-August 2019. I’ll be back again soon, so please bookmark or follow the KSE website here.

–Bill Shute (San Antonio, TX)

November 18, 2018

new album from TAKUJI NAKA & TIM OLIVE, “Quince” (KSE #397)

Filed under: Uncategorized — kendrasteinereditions @ 12:16 pm

TAKUJI NAKA & TIM OLIVE

“QUINCE” (KSE #397, CDR album)

Quince (26:08)

Takuji Naka: tapes, electronics

Tim Olive: magnetic pickups, electronics

Recorded on April 29, 2016 by Erhard Hirt at Black Box (Munster), and Nov. 25, 2017 by Kota Uematsu at Soto (Kyoto)

cover image by Tim Olive


As of Friday 7 December 2018, all KSE albums are deleted. All standing orders were fulfilled on 12/7/2018 and are now in the mail. Inventory will not be replenished, and orders will no longer be accepted. Thanks for your support through 400+ music and poetry releases since March 2006.

TIM OLIVE 2018

statement from Tim Olive on Quince: 

The music here is taken from three live recordings, sections of which were very minimally edited, then overlaid/superimposed, like disparate see-through transparencies from an old encyclopedia. Sounds which were spatially and temporally very distant align, then shift and realign, like multiple planetary systems passing through each other.
The cover image uses a somewhat similar, though much simplified, technique, in which two photo negatives are superimposed. The original photos were taken at a festival at Shitenno-ji in Osaka.
——————————————————————————–

KSE’s previous album from TIM OLIVE, “Zanshi” (w/ Samuel Dunscombe, KSE #371) was a listener favorite and constantly playing here at KSE headquarters, so we invited Mr. Olive to create a second duo album for us….and QUINCE is it.

Imagine you are immersed inside a 26 minute unit of time , taken shape as a four-dimensional chunk of molten metal in the middle of a busy foundry—-Naka and Olive sculpt that elasticized sizzling metal, offering the listener a rich array of textures and juxtapositions, as we swim among  the ever-becoming subtleties, bordered on all sides by ante-chambers of negative space. In fact, any location/environment where you play this album (including inside your head, if you’re on headphones/ear-buds) becomes an installation. It’s a beautiful creation, which one can approach from an infinite number of angles of entry.

 

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Takuji Naka has toured in Europe, Australia and New Zealand, playing with many artists including Jason Kahn, Carl Stone, Tim Olive, Takahiro Yamamoto, Anthony Guerra and Pascal Battus. Living in Kyoto, he regularly organizes concerts and is a member of the free noise band Culpis . He launched the “akuseku”  record label in 2013.

The music of Tim Olive arises from collaboration with fellow musicians/sound artists, collaboration with physical and temporal setting, and collaboration with those involved in the act of listening. Using simple materials (including magnetic pickups, steel strings, tuning forks, metal strips, hand-wound motor mechanisms, magnetic tape, dental floss and analog electronics), Olive’s work is predicated on the interplay of the human with material/time/space, and the uniqueness, intensity and unrepeatability that lives in each performing and/or recording situation. 

He is interested in music as a social activity, as a way of creating community, a way of countering the forces which lead to an increasing atomization of contemporary life; music as a felt experience rather than as a concept or a theory. 

A Canadian residing in Kobe, Japan, Olive has released music on Japanese, European and North American labels, with Jeff Allport, Cristian Alvear, Pascal Battus, Alfredo Costa Monteiro, Samuel Dunscombe, Nick Hoffman, Anne-F Jacques, Jin Sangtae, Jason Kahn, Takahiro Kawaguchi, Yukinori Kikuchi, Francisco Meirino, Katsura Mouri, Takuji Naka, Bunsho Nishikawa, Makoto Oshiro, Ben Owen, Horacio Pollard and Fritz Welch

Olive has performed/recorded in Asia, Australia, Europe and North America, with the recording collaborators listed above, as well as with Akiyama Tetuzi, Maria Chavez, Che Chen, Kelly Churko, Joda Clement, crys cole, Chris Dadge, Joe Foster, Haco, Hong Chulki, Bonnie Jones, Doreen Girard, Nicola Hein, Richard Kamerman, Kostis Kilymis, Siew-Wai Kok, Madoka Kouno, Tomasz Krakowiak, Fangyi Liu, Cal Lyall, Toshimaru Nakamura, James Rushford, Carl Stone, Sound of the Mountain, Nate Wooley, Jared Xu and Yan Jun.

In addition to organizing events in Japan, Olive runs the label 845 Audio.

 

Visit Takuji Naka at  http://takujinaka.tumblr.com

Visit Tim Olive at  timolive.org

 

KSE #397 (CDR), TAKUJI NAKA / TIM OLIVE, “Quince”

KSE #399 (CDR), LISA CAMERON / ROBERT HORTON, “The Ten Thousand Things”

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

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

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

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

 

TIM OLIVE 2018

October 28, 2018

new album from Lisa Cameron & Robert Horton, “The Ten Thousand Things” (KSE #399)

Filed under: Uncategorized — kendrasteinereditions @ 8:56 am

LISA AND ROBERT 2018 COVER

the ten thousand things (KSE #399)

lisa cameron/ robert horton

01  the eight horizons

02  departure and return

03  the ten thousand things

04  a lifetime growing content

05  year end skies        06  seeing thru death

07  all beneath heaven

with…eli ekert- guitar (tr 5), sean potts- bass (tr 5), dan plonsey- sax (tr 7)

all other insturments and sounds

robert horton  / lisa cameron

recorded 2014   Berkeley, CA

cover art “wd7522”, by MP LANDIS

As of Friday 7 December 2018, all KSE albums are deleted. All standing orders were fulfilled on 12/7/2018 and are now in the mail. Inventory will not be replenished, and orders will no longer be accepted. Thanks for your support through 400+ music and poetry releases since March 2006,

KSE’s quartet album by XTERIP (KSE #394, “The Frisbee Sessions,” released in January 2018 and still available), featuring Lisa Cameron, Robert Horton, Raub Roy, and Lee Ann Cameron, was extremely well-received by our listenership, both here and overseas, and I received a number of texts and e-mails from people who felt that it was a deep and primal communal sound-happening which created a kind of sacred-space in sound. That encouraged us to ask Lisa and Robert to assemble a duo album for KSE, and this is it: THE TEN THOUSAND THINGS (KSE #399).

Here are Robert Horton’s comments on the album:

“the 10,000 things” is a phrase taken from the tao te ching. “the 10,000 things” is this very world. the world, according to david hinton’s translation, arises from the dark female enigma.,. the source of all appearances. lisa and i play with the 10,000 things with abandon and no regard to genre, only to how various things vibrate: wood, reed, metal, skin, string.  lisa let me know she was going to be in the bay area, perhaps it was summer like june 2014, for a gig. i prepared some structures for her to add to. i made notes on index cards to record her playing drums, marimbas, metals, at various tempos. the idea from the beginning was to use all of lisa’s magic, as a drummer, percussionist, and noiseist. death is close to the enigma, and sometimes we chose to just have a beer with death. these recordings were made just prior to me having 4 heart attacks, so my work with lisa could have been my last musical fun on this particular planet. the music we made does not fit easily into any prescripted thought patterns or record bins. stop thinking and listen. Yea !  robert horton 2018

One could say that this album is a more distilled and purer item than XTERIP, but it’s actually quite different. With XTERIP, it was as though the tracks were segments taken out of an endless jam (the way Teo Macero would assemble Miles Davis “albums” from such jams)–here, though, as Robert mentioned above, each track is a separate and unique creation. It’s as if they cast the runes for each track, and approached each with a different methodology and from a different angle with different instrumentation. Listening to the album once again (for probably the 50th time) as I type up these notes, early on a Sunday morning, I feel as though I am taking a tour through seven rooms (the album has seven tracks) in some sort of psychick (yes, the TOPY/PTV reference is intended) funhouse-temple, staying for a while in each room and catching the distinctive vibe in each one. For me, this music gets richer with each listen, and I’d suggest you just program the CD player on “repeat” and let this album become the soundtrack of your day. It will both take you above this world and plunge you into it in a deep way. THE TEN THOUSAND THINGS is a beautiful album that is beyond time…..

ROBERT HORTON, working out of the SF Bay Area since the 1970’s, has been one of the most interesting artists to grow out of the experimental side of the 70’s noise-punk world, and he’s been issuing fascinating work on small labels over the decades. KSE was happy to welcome him into our family last year with XTERIP, and we’re excited to say that he and I are working on compiling a new RH solo album for 2019! He may be best known for his association with Sky City, The Appliances, Plateau Ensemble, and duos w/ Tom Carter. You can learn a lot about Robert’s aesthetic in this article, originally posted in 2008:  https://constantindubois.wordpress.com/2015/08/24/about-robert-horton-experimentor-extraordinaire-writing-2008/

LISA CAMERON, Austin-based percussionist and Texas psychedelic warrior, has also been fighting the good fight since the 1970’s, having worked with a staggering number of major figures in the experimental music field, as well as being a founding member of Brave Combo (I first saw her with BC circa 1979-80!) and a member of Roky Erickson’s Evil Hook Wildlife band (80’s), a member of Jandek’s Austin 2012 band, a member of Glass Eye, a member of ST 37 for two decades, and she’s played with a mind-blowing array of underground figures when they visit Austin (including members of Faust and the Source Family, and I’ll never forget her percussion duo with Mani Neumeier of Guru Guru!)…her long-term Venison Whirled project (which explores the territory between and among amplified percussion and controlled feedback) has played experimental music venues across Texas and North America…this is her 9th KSE release (not counting her appearance on the KSE 11th Anniversary Album!)…we love Lisa and her work….in fact, when I organized/produced four KSE music events in Austin in the 2011-2012 (including a Jandek performance), LISA was the only musician I used in all four events.

This new album with Robert Horton is the first of THREE Lisa Cameron duo albums which will be released in the next 8 months….around New Year’s Day, will be a duo album with West Coast-guitar visionary Ernesto Diaz-Infante, and in the Spring of 2019 a duo album with San Antonio-based master percussionist and deep-improv visionary Dane Rousay, both of whom have worked on a number of projects for KSE, so it’s like a family reunion!

KSE #397 (CDR), TAKUJI NAKA / TIM OLIVE, “Quince”

KSE #399 (CDR), LISA CAMERON / ROBERT HORTON, “The Ten Thousand Things”

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

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

KSE #394 (CDR) XTERIP , “The Frisbee Sessions” 

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

 

Thank you for your support since March 2006….

LISA AND ROBERT 2018 COVER

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

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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