Kendra Steiner Editions (Bill Shute)

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

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.
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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

 

May 13, 2018

off to Oklahoma for two weeks of poetry work…

Filed under: Uncategorized — kendrasteinereditions @ 11:41 am

My former home state of Oklahoma has been calling, and I’ve decided to answer the call.

shawnee 2

For the last 10-12 years, each May or June while I’m off work, I have taken a 10-14 day “writing vacation” when I work exclusively on poetry. I have the titles, the key lines and repeated refrains, the image patterns, and the overall architecture of the pieces done in advance, but I assemble them and create the mortar (spiced with the local color and particulars of where I’m at) in which to set the pieces of poetic stone during this intensive writing period. Friends who are composers or visual artists or whatever will often go to Marfa or the Texas Hill Country or some other evocative place for working art vacations similar to what I do. Mine have tended to be on the Gulf Coast or in Louisiana (and many of you have read the poems coming out of those trips….if not, go to Amazon now and purchase a copy of DOWN AND OUT IN GULFPORT AND BILOXI or BRIDGE ON THE BAYOU!), though they’ve also included other destination such as Pittsburgh (multiple times) and the NY Hudson Valley.

shawnee

Some of the best years of my life were spent in Oklahoma….I first made the acquaintance of many of you reading this through my Inner Mystique ‘zine and label in the early 1980’s, and that was in my Oklahoma period. I met the mother of my children in Oklahoma and we were married there. Actually, we might have stayed in Oklahoma had we both been able to get decent jobs there when she finished graduate school, but we could not, so we moved to Virginia….and entered a new chapter of our ongoing saga.

shawnee 3

During the six years I spent in the Stillwater area, when I wanted to go to the “big city,” the choices were Oklahoma City, Tulsa, and Wichita, all still fine cities I try to visit every few years….so spending the 2018 writing vacation in Oklahoma City will be a treat.

shawnee 4

KSE will be closed from 14 May-28 May….any orders during that period will be shipped on 29 May when I return….and PLEASE feel free to order the wonderful new releases from MASSIMO MAGEE (solo saxophone) and DANE ROUSAY (solo percussion) during that period. Also, many of the 2017 remaining releases are pretty much sold out now (only a few copies left, so get your order in through Paypal ASAP to score copies) and will be deleted upon my return. And the older poetry chapbooks of mine are almost gone….the lower the number, the more likely it will be deleted soon. As always, thank you for your support of KSE and of my work over the decades. I will send you all positive vibrations and warm wishes from central Oklahoma during the second half of May!  BILL S.

ponca city

April 28, 2018

new spoken-word poetry album, “Sculpture Garden In The Snow,” from Bill Shute (KSE #395)

Filed under: Uncategorized — kendrasteinereditions @ 8:03 pm

new spoken-word poetry album, “Sculpture Garden In The Snow”

from BILL SHUTE  (KSE #395, cdr album)

Recorded by Marcus Rubio  in Austin, Texas

Poems composed 2015 in TX, LA, FLA

 selections:

SATORI IN LAKE CHARLES

FLAGS NO LONGER AT HALF-MAST

INVENTING  ONE’S  OWN  LAND

MANIPULATING AMBIGUITY

SCULPTURE GARDEN IN THE SNOW

MONUMENTAL MOVEMENTS

LIARS IN A STRANGE RAINY WORLD

“Silence is my substitute for counterpoint”      –Morton Feldman

Album is $8 postpaid in the US–see below for ordering details.

(PLEASE NOTE–KSE WILL BE CLOSED MAY 14-MAY 28, 2018)

sculpture garden CDR

Recorded the same day as the earlier BRIDGE ON THE BAYOU album, this new collection SCULPTURE GARDEN IN THE SNOW contains seven pieces, all written in 2015 and NOT part of any multi-poem sequences. Each was published in 2015-2016 in a small edition of around 40, and each sold out in a few months. Three of them were “cassette poems” pieces, inspired by experimental music on cassette from Derek Rogers, Brian Ruryk, and Smokey Emery.

These readings present the pieces the way their author hears them, and the recording environment–with the sounds of construction and Tejano music from the street as well as the paw-percussion of Pierre The Dog–is somehow perfect for the material, open-field poems constructed from the flotsam and jetsam of daily life.

If you’ve seen me read or have heard the other spoken-word albums, then you know what’s in store. If not, you can listen to some pieces recorded in Pittsburgh a few years ago. Here’s one of them,  https://youtu.be/8eTUJPU_eqI    ,     OUTFAKE, from 2013.

Mary Anne and I will be in the Northeast in June, and I’ll be doing a poetry reading with Michael Casey at White Square Books in Easthampton, MA, on Friday 22 June at 7 p.m. If you are in the greater Amherst area, please stop by!

The pieces on this album will be republished later this year into a perfect-bound 8″ x 11″ collection also called SCULPTURE GARDEN IN THE SNOW. I’ve had a number of positive communications from people who got the BRIDGE ON THE BAYOU spoken-word album and then the BRIDGE ON THE BAYOU book–experience the words on the page while you listen to my reading. I hope to have that book ready by late Summer. Until then, take a listen to the readings. Regular KSE people may well have a number of the original chapbooks already, so you can read as you listen.

By the way, you can order that BRIDGE ON THE BAYOU collection from Amazon via this link:   http://amzn.to/2jxJaZc

Why not enjoy some of our acclaimed albums of contemporary experimental music alongside your poetry?

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 , ‘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”

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

You can also add any of the following poetry chapbooks to a CDR order for only $5 each:

KSE #393 (poetry chapbook), BILL SHUTE, “Arising, Abiding, and Decay”

KSE #391 (poetry chapbook), BILL SHUTE, “Satori In Natchez”

KSE #386 (poetry chapbook), BILL SHUTE, “Trimmings”

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities”

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals”

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown”

As always, thank you for your support of KSE and of all independent arts organizations.

April 7, 2018

new solo album from MASSIMO MAGEE, “Tenor Tales” (KSE #396)

Filed under: Uncategorized — kendrasteinereditions @ 8:21 pm

MASSIMO MAGEE, Tenor Tales (KSE #396, CDR album)

Massimo Magee – Tenor Saxophone

01 Retcon         02 Balm

03 Garret           04 Assay

05 Hinge          06 Raw

07 Furtherance        08 Defy

$8 postpaid in the USA (see bottom of post for foreign rates/postage)

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

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

massimo 2018 cover

Saxophonist–composer–theorist  MASSIMO MAGEE  is back at KSE with a new album of solo saxophone creations, 8 sound sculptures all rooted in the tenor saxophone. As usual for Magee, each piece is a rigorous improvisational investigation of a certain sound-area, ranging from lyrical passages worthy of a Ben Webster to overblowing and harmonics to various extended techniques to a track that sounds like it utilizes a contact mic….covering a wide range, but beginning and ending with “pure” saxophone.

The solo saxophone has inspired a wide and rich and diverse body of work over the decades, ranging from Coleman Hawkins’ 1945 solo 78 “Picasso” through the 1970’s works of Steve Lacy, Anthony Braxton, Roscoe Mitchell, and others, taking off into the stratosphere with the Micro-Saxo-Phone albums of Magee’s mentor (and KSE recording artist) Alfred 23 Harth. Whether or not you’ve been following Magee’s work through his KSE albums and/or his live performances and/or his writings, you’re sure to find this album satisfying if you’re interested in the possibilities of the tenor saxophone. Although there is a wide variety of sound on the album, it’s all ROOTED in the tenor saxophone, hence the album’s title, TENOR TALES. About that title, Magee wrote (when we were working out the details of the album a few months ago), “I’ve decided that it makes more sense to credit myself simply with ‘Tenor Saxophone’ here, as the extensions are just new ways of approaching the one instrument. I try to take the whole field of the instrument’s potential as material to build with in these improvisations.”

Mr. Magee has been winning new listeners with each of his KSE albums, and many worldwide  await each of his new releases. As Brad Kohler texted me after hearing  Magee’s first KSE album which came out a number of years ago, “sign that man to a long-term contract!”

I expect that TENOR TALES will be getting the kind of airplay and positive reviews his previous albums have. Get YOUR copy now. It’s a stunning creation and truly timeless….

and while you are at it, why not grab some of our other recent album releases on CDR:

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

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” w/ Lisa Cameron, Robert Horton, Raub Roy, Lee Ann Cameron

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”

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.

As always, thank you for your support of KSE, now in our 13th year of operation. Best wishes to all from our home base in beautiful San Antonio, Texas.

————————————————————————————–

For anyone living in Western Massachusetts or the NY Hudson Valley, I will be doing a poetry reading (with Michael Casey) at White Square Books in Easthampton, MA (not far from Amherst) on Friday night 22 June at 7 pm. Would love to see you all there!

March 16, 2018

KSE Spring 2018 update

Filed under: Uncategorized — kendrasteinereditions @ 10:28 am

KSE passed the 12 year mark on March 1, 2018, so we’re now in our 13th year of operation! Many thanks to the poets, composers and musicians, artists, customers (especially the customers!), reviewers, bloggers, pod-casters, radio programmers, and well-wishers who have helped us stay afloat through nearly 400 poetry and music releases (we’ll hit 400 this summer, and I’ve already saved that number for the new album from Alfred 23 Harth!).

APRIL 2018 will bring the first two new music releases of the new year. First is a solo tenor saxophone album from MASSIMO MAGEE, “Tenor Tales” (KSE #396)–new investigations of rarely traveled tenor territories with a master guide.

massimo 2018 cover

The second new release for April is a solo percussion album from San Antonio’s own DANE ROUSAY.  Dane has been very active in the last year or two with live performances and collaborations across the Midwest and the south, but took the time while in St. Louis to document this beautifully recorded solo percussion album, an album which like Massimo Magee’s, investigates fascinating territories in a way that’s both playful and methodical. If you’ve seen any of Dane’s solo percussion performances in the last 8 months (such as the four-hour “Endurance” set down by the San Antonio River), you’ll appreciate the documentation of this phase of their work.

dane 2018 cover

In Feb/March, we issued a new collection of ten poems by JOHN SWEET, “Heathen Tongue” (KSE #392), a poet with an original voice that cuts like a knife and also a great sense of understatement and craft. His poems are disquieting and the perfect mirror of this sorry age in which we live. Response has been excellent on this one–get your copy now.

heathen cover

Prior to that, we finished off the Winter 2017/2018 releases a bit later than planned, with the final three coming out in January. These have been getting airplay and reviews both in North America and in Europe, and I’ve received a number of enthusiastic e-mails from folks who have been playing them day and night. They are

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

ernesto lovers_0001

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

more eaze 2017 paint

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

LISA XTERIP COVER SCAN

You can find write-ups on all those albums here on the blog….just enter them into the search box.

On the poetry front, there are probably 8 or 9 of my own chapbooks available presently, including the seven volumes of the Natchez Poems and other pieces such as LEFT-HANDED CHERUBS and TRIMMINGS…

ARISING cover

In the second half of May, I will be taking my annual “writing vacation” for two weeks, this year in Oklahoma City. I’ve got notes and image patterns and structural plans for seven more of my six-page open-field poetry creations, so I’m looking forward to that precious time…and in my second home, the great state of Oklahoma! KSE will be closed for business the second half of May.

And then in the second half of June, Mary Anne and I will be back East, in Philadelphia, New Jersey, New York, and Western Massachusetts, and I’m proud to announce that I’ll be doing a poetry reading with MICHAEL CASEY at WHITE SQUARE BOOKS in Easthampton, MA, on Friday night 22 JUNE at 7 p.m. My last reading in that area (also with Mr. Casey!) was in 2011 at Flying Object Books. In addition, there will be a joint Casey-Shute poetry book coming out from a local press from the area (can’t announce the specifics on this yet, alas), done in the old “69” format with half  the book Casey and half the book Shute. VERY excited about that. KSE will be closed for business the second half of June also. Here’s the lovely space where we’ll be reading:

white square

KSE will be back with two rounds of new music releases in the Summer and Fall of 2018, with the first wave coming in July-August. There will be a number of artists new to the label releasing albums in 2018, as well as a solo album from an artist who’s only been part of a duo here before. Experience has taught me to not announce the specifics of such future projects until all the details are worked out and the master is in my hand, but trust me, there will be a lot of exciting music coming from a number of up-and-coming artists working out of North America, Europe, and Asia. Stay tuned…..

I have not been writing much here on the blog outside of the release announcements—-there are a number of half-completed pieces on music and literature and film and the like, but I have not had time to finish them. Of course, my job keeps ramping up the workload, which requires me to take home a significant amount of work each night, and also I’ve been writing and publishing very regularly in other places: I’ve been averaging 6 or 7 reviews in each issue of Ugly Things, and I pretty much have a weekly piece coming out at Blog To Comm. The latter tend to be film and comic book and/or comic strip reviews, though some of the comic book reviews have a significant  “faux memoir” angle to them, which allows me to find new ways to investigate questions of narrative point-of-view and persona and also work in the world of fiction without really working in the world of fiction.  You can read one of those hybrid pieces here: http://black2com.blogspot.com/2018/03/comic-book-review-by-bill-shute-danger.html#links

I have been contributing to both UT and BTC since the 1980’s, and while it’s a very different kind of writing than my poetry (or the pieces I do on film or music here at the KSE blog), it allows me to reach a much larger (and quite different) audience and to champion and educate people about work which is important to me. UT does not give away content free online (neither does KSE–we are hard copy people), but you can always purchase the latest issue at http://ugly-things.com/  

And of course there is always a small notebook in my back pocket for poetry notes, and those notes get organized and edited and incorporated into a larger notebook kept at home, and those notes eventually become the poems you read (or listen to on a spoken-word CDR or at a reading).

CAMPANULA

In addition, my poetry is featured….both in written form and in spoken form….on the exciting new album CAMPANULA by ALFRED 23 HARTH and JOHN BELL, on the Moloko Plus label from Germany. I also wrote the liner notes for this AND all track titles are taken from lines of my poems! You can read about the album and order it here: http://www.molokoplusrecords.de/finder.php?folder=Label&content=63

People sometimes ask me, “what have you learned from this KSE venture,” and my answer to that is THE FUTURE IS NOW!      Grab it, and channel that energy that is all around you into what you desire to make exist in your chosen area of creative work, bend and shape that energy the way a glass-blower bends and shapes their creation. Life is short.

Check back in a few weeks for the new April KSE releases from Massimo Magee and Dane Rousay….and if you are in Western Massachusetts or in the NY Hudson Valley, consider stopping by the Casey-Shute reading on June 22 in Easthampton, MA (not far from Amherst).

Remember, there is ALWAYS a pinned post at the top of the front page here with a listing of what albums and chapbooks are presently available, along with convenient ordering instructions. It gets updated at least once a month….if it’s on there, it’s available….if it’s not on there, it’s out of print.

Hoping 2018 is a satisfying and productive year for all of you….

March 5, 2018

new poetry chapbook from JOHN SWEET, “Heathen Tongue” (KSE #392)

Filed under: Uncategorized — kendrasteinereditions @ 7:37 pm

JOHN SWEET

“Heathen Tongue” (KSE #392)

edition of 61 hand-cut, hand-assembled copies

$6 USA postpaid (see below for postage rates outside USA)

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

please leave note with your order listing what you’re buying and mailing address…thanks!

10 new poems by John Sweet: THIEF; COSMOLOGY; MONDRIAN, THROUGH THE BIG WINDOW: MY BLEEDING HEART AND ITS CROWN OF THORNS; SHOTGUN GRACE; MURDER; VIOLENCE; INTO THE JAGGED DEPTHS OF SILENCE; GHOST ALCHEMY; ARTIFACT 3 (My Father’s Legacy)

heathen cover

Happy to welcome back Central New York state poet JOHN SWEET for another chapbook of new poems. KSE first published a collection of his in 2008, and I had been reading his work for probably another ten years before that. He is truly an original–with an instantly recognizable voice and poetic form.

Sweet’s poems are lean and sculpted to be razor-sharp. They embody real-life voices, beaten-down by real-life problems, with the extra salt in the wound of bullsh*t and hypocrisy and permanent war and militarized police and domestic violence and insane fundamentalism and mass delusion. The speakers in Sweet’s poems are survivors, and they are leaving poetic messages in the bottle of a KSE chapbook, giving a testimony to the insane, violent, corrupt, painful world that  has been created around us, and he does not flinch when documenting our own complicity. His work never whines and never editorializes and never presents any pat answers. It should be clear to all by this point that this experiment we’re all part of is not working. In a restrained but tense voice, Sweet’s poems point out that the emperor is wearing no clothes. His poems cut through the crap, and there’s no macho posing or laughable “outlaw” self-deception. If I peel off the blinders, this is what life is like. Friends, that is an amazing accomplishment, if you think about it. I remember that kind of feeling when I first read Theodore Dreiser….or Richard Wright…or James T. Farrell…or Georges Simenon…or David Goodis….or maybe Celine.

With dozens of books to his credit over the last few decades, and probably hundreds of individual poems published in printed and online literary journals in addition to those in the books, John Sweet continues to have his finger on the pulse of what’s wrong with this society and its people.

When we had the KSE 9th Anniversary event in Dallas 3 years ago, I read poems by three KSE authors in addition to my own poems: the late Doug Draime, Luis Cuauhtemoc Berriozabal, and John Sweet (in fact, if you look at the pic that I use as my Facebook profile photo, and look at it closely, you’ll see it’s one of Sweet’s books I’m holding and reading from, NOT one of my own!). I believe in these poets’ works, and I am proud that KSE has gotten behind them and gotten many new creations of theirs out into the world over the years….thus, I’m glad to present these TEN new pieces from John Sweet. If you’ve never read him before, I can assure you, you won’t soon forget his work once you do read it. Get your copy now. Limited hand-cut, hand-assembled edition of 61 copies.

Visit John Sweet at  http://bleedinghorse.blogspot.com/

And while you are at it, why not try some of our other poetry offerings, listed below. Foreign readers pleases note the postage prices…it pays to order multiple books as the price goes way down, and also, if you order two music albums (see our general list elsewhere on this website) for overseas shipment, each poetry chapbook after that is only $5.

Of course, in the US, poetry chapbooks are only $6 each, postpaid!

POETRY CHAPBOOK PRICING:

$6 each USA postpaid….

POETRY CHAPBOOK ORDERS OUTSIDE THE US (reflecting the much higher rates as of 1/22/2018):

MINIMUM  FOREIGN ORDER, 3 CHAPBOOKS. The cost of 3 will be $19 postpaid, and each book after the third will be an extra $5. Thus, 3 chaps will be $19, 5 would be $29, 6 would be $34, etc.

EACH CHAPBOOK ADDED TO A FOREIGN ORDER OF 2 OR MORE CDR’s CAN BE ADDED FOR ONLY $5. Thus, 2 albums costs $20 postpaid, but 2 albums and a poetry chapbook would be $25.

Why not just add a poetry book to your overseas music order for only $5!

Other chapbooks available:

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

KSE #393 (poetry chapbook), BILL SHUTE, “Arising, Abiding, and Decay,” 7th of the Natchez  Poems

KSE #386 (poetry chapbook), BILL SHUTE, “Trimmings”…composed in New Mexico and El Paso, after the Natchez poems

KSE #391 (poetry chapbook), BILL SHUTE, “Satori In Natchez,” 6th of the Natchez poems

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities,” 5th of the Natchez poems

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals,” 4th of the Natchez poems

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown,” 3rd of the Natchez poems

KSE #376 (poetry chapbook), BILL SHUTE, “New Jerusalem,”  2nd of the Natchez poems

KSE #374 (poetry chapbook), BILL SHUTE, “Guest Register,” 1st of the Natchez poems


 

With this poetry chapbook, KSE will be taking a break from new releases for about 3-4 weeks, when we’ll be back with two new albums: from MASSIMO MAGEE and from DANE ROUSAY. Stay tuned on those….

February 10, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 3:36 pm

ERNESTO  DIAZ-INFANTE ,  “The Lovers Escape/Los Amantes Escapan” (KSE #387)

74 minutes of solo nylon-string guitar

$8 postpaid in the USA (see below for foreign rates/terms)

ernesto lovers_0001

.About a year ago, when I requested some ideas for a new 2018 album from Ernesto Diaz-Infante, he told me that he’d been working extensively with a nylon-string classical guitar in recent months and that he was working on two very different projects involving that instrument—-he’d send me both when they were finished, and I could see if I wanted one of them for release. When I heard the two albums, I desired to get BOTH of them for KSE release, and Ernesto graciously agreed. I told him that one would be the first release of 2017 and the other would be the final release of 2017. That first one was “Manitas” (KSE #372, still available)…the second one is now available, the final entry in our Winter 2017/2018 round of releases: “The Lovers Escape/Los Amantes Escapan” (KSE #387).

On my property, I have three sets of wind chimes (two made from different densities of scrap metal by my late father, one made from tempered glass)–one on my front porch, one at the corner of the right rear of the house near our bedroom, and one about fifteen feet behind the house on the branch of a tree. When we have varying winds in the Fall and the windows are open, I hear an achingly beautiful and endlessly  differing series of chiming tones—-a limited number of chimes, of course, but a seemingly infinite combination of possibilities. I can listen to that for hours. Remember the environmental sounds in the first few minutes of Sergio Leone’s ONCE UPON A TIME IN THE WEST? Have you ever read one of the multiple-page minimalist texts of Gertrude Stein with the incremental repetition where slight differences seem so significant and dramatic—-have you ever taken the time to read one of those aloud?

Think along those lines when encountering Ernesto Diaz-Infante’s new album. It’s 72 minutes of solo nylon-string classical guitar, three long pieces, each coming from a different picking/strumming pattern which is varied ever so slightly. Not in a predictable “minimalist” way, but in an unpredictable but subtle way, like a caress. The radical element in this album is that it’s played entirely on open strings! Yes…that’s why I gave the analogy of the wind chimes. On paper, it’s a very limited number of pitches–in reality, and in the hands of a virtuoso player such as Ernesto Diaz-Infante, there’s an infinite variety in touch, tone, attack, decay etc. Don’t forget the rich overtones of the nylon-string guitar, which is why Ernesto chose this particular approach with this particular instrument. It would have been FAR different if done on a steel-string guitar. He has always been a master of bringing out the sound possibilities inherent in the instrument, whether it be bajo sexto or whatever kind of guitar.

The album was reviewed recently at Vital Weekly in the Netherlands, along with our other two most recent KSE releases by Xterip and More Eaze…..here’s that review:

  And from More Eaze via Xterip to Ernesto Diaz-Infante is quite a trip but it also shows the wide scope of Kendra Steiner’s interests when it comes to weird music. Not that I believe this music to be weird at all, far from it. Diaz-Infante set up microphones at ‘Next Door To The Jefferson Airplane Studios’ in San Francisco and played his nylon string guitar for seventy-four minutes; or at least that’s the amount of music that is released here, in three lengthy pieces. Diaz-Infante is an improviser for whom the guitar must sound like a guitar, and not like an object that just happens to be shaped in the form of a guitar and that is a box that resonates. In three pieces here he displays a love for minimal
strumming and does that in a most beautiful way. If you need a quiet place following the Xterip release, then this could not be more welcome. The playing is throughout each piece more or less the same, going on and on, like the simple strum of ‘Off Into The Wilderness Where We Walk With No Gravity’ or the paused playing of ‘Watching Your Eyes Awake’. The listener loses sense of time and place, at least I did having this on repeat for a very long time, lost in reading a book on a lazy Sunday afternoon. There is nothing plink-plonk about this, just some most lovely minimalist nylon guitar playing.

This album is not for everyone–as with the Jandek 9-cd solo piano box set or that MEV piece played on rubber bands, some people will be outraged by an album consisting of 70+ minutes of guitar music played unfretted on open strings—-but those who put aside such barriers (as the folks at Vital Weekly did) will find that using a limited palette forces the artist to concentrate on more subtle distinctions (think of the analogous experiences described in the second paragraph above).

“The Lovers Escape/Los Amantes Escapan” (KSE #387) is the perfect complement to Ernesto’s earlier album MANITAS (KSE #372)–be sure to get both. We’re proud to have been providing Ernesto Diaz-Infante with a platform for his fascinating and hauntingly beautiful explorations of the possibilities of the guitar and related instruments (bajo sexto, etc.) for a number of years now, and it was exciting to bring him to Central Texas (from the SF Bay Area) in 2012 for the KSE 6th Anniversary Concert in Austin. Every one of his albums is a methodical investigation into down the lesser-traveled alleys of the possibilities of his instrument. Join him on this latest excursion….let go and float along….

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the USA (see below for ordering info, via paypal).

(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! The two albums for $20 deal makes each item only $10 each, and if you were to buy 4 for $36, they’d only be $8 each, THE SAME AS THE US COST! Anyone who is looking at this page and interested in contemporary forward-thinking music could surely find four albums you need to have! Many of our releases have been reviewed at Vital Weekly (not this one yet, obviously!), so you can check out the reviews there…or read the write-ups here on the blog.

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.

KSE ALBUMS NOW AVAILABLE:

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

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo 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 (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 #373 (CDR), DANE ROUSAY, “Anatomize” (new for July 2017), solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” (new for July 2017)… one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

Ernesto-pic-for-Bill

January 21, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 2:40 pm

MORE  EAZE

“Staring At A Statue of Paint” (KSE #383, CDR album), released 1/23/2018

$8 postpaid in the USA (see below for foreign rates/terms)

more eaze 2017 paint

We at KSE are proud to have worked with MORE EAZE (aka Marcus Maurice Rubio) for a number of years now on a number of projects, going back to his college years back here in his hometown of San Antonio (he’s since lived in L.A. and now in Austin). I knew what stuff he was made of when I first saw him live as a solo act maybe 9 years ago, and he was on the bill of experimental music artists at a small gallery on S. Flores. There was a massive and brutal thunderstorm which caused the power to go out, and it didn’t come back. The other acts were all hemming and hawing and not knowing what to do. More Eaze stepped up to the plate, announced that the battery in his laptop would be good for an hour or two of performance, someone lit a candle, and he did his entire performance by candlelight on the laptop from his battery power. Since then, he’s faced an infinite number of performance situations and has worked with hundreds of the important artists in the contemporary experimental music world (he’s not the sort of guy who drops names, so I won’t….but google him for yourself!), all across Texas and the Midwest, as well as back East and on the West Coast.

I have always especially valued his work and his thought as a composer, and KSE has offered to provide him a canvas on which to try out and document his compositional ideas, and those sonic canvases have been the MORE EAZE albums we’ve released (and the earlier ones under his given name). We believe in supporting contemporary composers and giving them an outlet for their work, as modest and low-budget as out platform is. It’s all about the music–expensive packaging does not help the music out one iota. That line of Frank Zappa paraphrasing Edgard Varese, which I heard in my youth, has always stayed with me and animates what we do at KSE: “The present day composers refuse to die.” With a mind like his, and a grounding in the visual arts and literature (he understands the organizational and structural workings of a Gertrude Stein or a Cy Twombly as well as he does the history of music composition, from the Baroque age on), MORE EAZE provides us with dense and fascinating compositional layers and structures on each KSE album, and I have had years of joy and intellectual analytical workouts from all of them. And let’s not forget that on his albums for many other labels, he has worked in an incredible number of other styles, in the various murky fields of post-rock and avant-pop and skewed-and-decomposing songcraft. It’s no surprise that has been labelled the Van Dyke Parks of the contemporary underground.

Well, so much for the ballyhoo…

On this new creation, STARING AT A STATUE OF PAINT, More Eaze intentionally works with a limited palette, creating a suite of five pieces with a kind of pure and astringent feel, and I as listener find myself focusing on the patterns, the way I would with ragtime, or Bach, or the 60’s/70’s minimalists. Here’s the composer’s own comments on the pieces:

“I wanted to record a set of pieces that used very simple musical material and that I could essentially design generative (mostly) modular patches for a largely hands off approach. I was also very interesting in making something very minimal that only involved 2-5 sounds happening at a given time and these pieces reflect that. Each track is centered around the A-major-pentatonic scale and adds or subtracts notes from this simple and recognizable scale each time. These processes were chosen very much with the intention of creating something warm, light, and recognizable while also involving randomness in a way that allows for constantly developing patterns and loops that build an inviting chaos. “

As usual, it’s TOTALLY different from More Eaze’s other KSE releases…and in a different universe for the albums he does for other labels (no one I know of is so adept at changing his spots to suit the situation, while still being totally himself!). You can put it on, set the player on repeat, and just travel with–and inside–the music. I’ve done that a number of times, as I was working on getting the albums duplicated, working on the cover, printing and cutting the covers, etc., ALWAYS with this album at full volume in the room with me.

Get your copy now….see ordering information below….

TWO PREVIOUS MORE EAZE RECORDINGS STILL AVAILABLE FROM KSE (the older ones are all out of print, alas), so you can order them along with the new one:

KSE #355 (CDR), MORE EAZE, “wOrk”

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

……………………………………………………………………………………………………………………………………………

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the USA (see below for ordering info, via paypal).

(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! The two albums for $20 deal makes each item only $10 each, and if you were to buy 4 for $36, they’d only be $8 each, THE SAME AS THE US COST! Anyone who is looking at this page and interested in contemporary forward-thinking music could surely find four albums you need to have! Many of our releases have been reviewed at Vital Weekly (not this one yet, obviously!), so you can check out the reviews there…or read the write-ups here on the blog.

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.

OTHER ALBUMS ALSO AVAILABLE:

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 (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 #373 (CDR), DANE ROUSAY, “Anatomize” (new for July 2017), solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” (new for July 2017)… one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

more eaze 2017 paint

January 7, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 8:02 pm

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

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

XTERIP is a quartet featuring

Robert Horton (Sky City, The Appliances, Plateau Ensemble, duo w/ Tom Carter, many many more since the late 70’s)

Raub Roy (Horaflora)

Lee Ann Cameron (Devil Bat, Sky City, long-time Texas acid-folk acoustic performer)

and Lisa Cameron, KSE “franchise player” and Austin-based percussionist, a major figure in Texas psychedelic/higher-key/noise/experimental music since the late 70’s, founding member of Brave Combo,  member of Roky Erickson’s Evil Hook Wildlife band (80’s), member of Jandek’s Austin 2012 band, member of Glass Eye, member of ST 37 for two decades, 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 8th KSE release (not counting her appearance on the KSE 11th Anniversary Album!)…we love Lisa and her work….

LISA XTERIP COVER SCAN

THE FRISBEE SESSIONS by XTERIP consists of four long pieces which capture the best elements of higher-key tribal-psych jamming while also reminding me of classic records as diverse as side one of La Monte Young’s “Theater of Eternal Music” Shandar LP, which I used to play over and over, and the Seventh Sons “Raga” album on ESP-Disk, featuring the young Buzzy Linhart. Each of the participants in XTERIP is a multi-instrumentalist, but also a person who can–and does– turn ANYTHING into a sound source, while the haunting vocals of Lee Ann Cameron swirl around and inside-and-out of the constantly moving sound sculptures in the deep-focus gallery which is this album (breaks were taken for frisbee playing between sets). I can hear this music fitting in well with the sounds of such higher-key improv-psych artists as Book of Shadows or Ya Ho Wa 13, in that there is a primal, spiritual base to the creation, but there is also a brutal industrial side….it’s all in the gumbo. THE FRISBEE SESSIONS will create a 50-minute sacred-fire-seared ceremonial space wherever you are, and who can’t love that! We are fortunate to have such an amazing quartet here, so please do yourself a favor and pick this release up ASAP!

bill and lisa

(pic: me with Lisa Cameron, KSE 5th Anniversary Concert, Austin, 2011)

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the USA (see below for ordering info, via paypal).

(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! The two albums for $20 deal makes each item only $10 each, and if you were to buy 4 for $36, they’d only be $8 each, THE SAME AS THE US COST! Anyone who is looking at this page and interested in contemporary forward-thinking music could surely find four albums you need to have! Many of our releases have been reviewed at Vital Weekly (not this one yet, obviously!), so you can check out the reviews there…or read the write-ups here on the blog.

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.

OTHER ALBUMS ALSO AVAILABLE:

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 #373 (CDR), DANE ROUSAY, “Anatomize” (new for July 2017), solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” (new for July 2017)… one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

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

LISA XTERIP COVER SCAN

November 19, 2017

new album from MATT KREFTING, “Microchips” (KSE #390)

Filed under: Uncategorized — kendrasteinereditions @ 7:43 am

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

$8 postpaid in the US (see below for ordering info and overseas pricing)

MATT MICROCHIPS

Honored to present a THIRD  KSE album from the ultimate post-postmodern renaissance man, Western Massachusetts’ MATT KREFTING….perhaps the only man who can be featured at an experimental music festival and be the most outre artist on the bill, who can sing a George Jones song in a way that can break your heart, AND who’s been published in the Huffington Post! One of the wonderful things about Matt’s work in any discipline (and as with David Bowie, MK could be described as a “generalist,” in the best sense of that term) is that you really can’t anticipate what he will deliver, except to say that it will be elegant, it will possess wit, it will be carefully crafted, and it will be intellectually engaging on a deep level. When I have sent him my comments about his previous KSE albums, our conversations sometimes have existed exclusively on the theoretical/conceptual level.

We originally arranged for this album to be a 2016 release, but Matt did not feel the work had really fallen into place yet, and he continued to tinker with and re-evaluate the “Microchips” project until delivering us the finished master last month. It is not a long album—-just 27 minutes, divided into 14 tracks—-but I can’t imagine anything being added to it. Most of the raw material comes from found sources, but it’s merely clay in the hands of this master sound sculptor. Curiously, this collage of an album can contain spoken sections about “mircochips” that sound like their original source might have been some religious conspiracy theory podcast (the kind of thing Jim Bakker does while selling survivalist foodstuffs to older people he’s filled full of paranoid fantasies), but the way they are re-contextualized and then placed among passages of almost-rococo pillowy music (perhaps growing out of tape manipulation, but does it really matter? I think not, only the result matters), this sound-installation of an album creates something that’s both witty and disquieting—-and is THAT a difficult trick to pull off! I can imagine some listeners who are chained to a particular genre of music, even if it’s in the so-called “avant-garde,” might wonder if they are being “put on” by this album (especially as it folds in on itself in the last track, with echoes of a virtual Greta Garbo and Curly Howard), but hey, I remember that being said about Dennis Hopper’s THE LAST MOVIE and Godard’s KING LEAR. And those are the works that have turned out to be the most forward-thinking and contemporary, the further we careen into the future…because they embrace contradiction and have woven a sense of being incomplete into their warp and woof.  I have a feeling that MICROCHIPS (and whenever I read that title, I hear “Microchips And Fish” by the Red Crayola playing in my head) may well be the work that NAILS this sorry but fascinating year of 2017. What contradictions and possibilities and pain and achievement and loss and confusion are happening in this year ! Truly, it is the best of times and the worst of times….and the most absurd of times….and the pinnacle of achievement in some ways in the midst of a diamond-crusted New Gilded Age that would drive a Theodore Dreiser or a Mark Twain or a Woody Guthrie crazy. Don’t ask me for specifics, but somehow this album seems to exemplify and contain in one package the contradictions. In the immortal words of Walt Whitman, “Do I contradict myself? Very well, then I contradict myself, I am large, I contain multitudes.” Indeed!

———————————————————-

As always, Mr. Krefting has provided a witty and elegant statement on the album, which like the album itself, is self-deprecating and embracing of seeming contradiction:

“MICROCHIPS. Microchips, if implanted in pets, can be very sensible. But what are pets, really? Like what ARE they?

If applied to human medical records, they (microchips, not pets) can still be sensible, maybe, but also more open to exploration. Still, a good idea?

But take it out, tease it. A bit more. I have no idea what microchips even are, really. I just have an idea about them. I got obsessed with that idea, which is different than being obsessed with the chips themselves. Then I found them everywhere. Or, I found them in places that felt like everywhere. And I went from there. Then out. Then back again.

How might I render this in a way that folds into the methods I like to use to make music? I don’t know. I took well over a year thinking about that and working on the pieces that comprise this album, but I still have nothing that even resembles an answer.

In many ways, this is the most purely experimental thing I’ve ever done, but it is, I promise, also minutely considered in its final form. Plenty of moments lie on the cutting room floor.

I could not create a unified atmosphere, no matter how I tried, but I also worked against something too fractured. It’s like a diary of a particular moment that shows a complete disregard for the passage of actual time.

I feel like taking the muscles out of my body, and I feel like I ought to keep them for myself, and make them into something.

There’s no sense in even being paranoid anymore, is there? It’s just the way it is, this assumption of guilt….A drill in the head is worth three in the underbelly.

So my chip sits wherever it sits and it sings to me, a soft, far-off, rusty golden sort of glow, letting me know that I am where I am and nowhere else and I’ll say for sure that I can go either way. Some nights I think the walls are gorgeous and mysterious, and the next night they’ll make me want to scream and extinguish myself. But that’s life, or something like it, so that’s enough for now.”

Matt Krefting, Holyoke, October 2017

…………………………………

Well, there’s nothing I can–or should–add to that. You should print out Mr. Krefting’s words and keep them as liner notes for this album, which you now cannot help but purchase and share with your friends.

Matt Krefting has issued two previous albums for KSE (both out of print): RECITALS (KSE #266) in 2014, and SWEET DAYS OF DISCIPLINE (#220), from 2012. We also published a chapbook of his poetry, THE PRINCESS OF KNIGHT AVENUE (KSE #259) in 2013. Matt also appeared on the KSE 10th Anniversary Compilation album.

————————–

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

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US (see below for ordering info, via paypal).

(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.

OTHER ALBUMS ALSO AVAILABLE:

 

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 #373 (CDR), DANE ROUSAY, “Anatomize” (new for July 2017), solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” (new for July 2017)… one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

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

AND as a public service for Matt Krefting fans, we are bringing out of the garage the LAST available copies of the 2016 KSE 10th Anniversary album (KSE #331), featuring Matt, plus also otherwise unavailable tracks by ALFRED 23 HARTH,  SARAH HENNIES, RAMBUTAN, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, DEREK ROGERS, BRENT FARISS, GRAHAM LAMBKIN, and MASSIMO MAGEE. Available ONLY with the purchase of a copy of MICROCHIPS (same price as any other KSE album)

MATT MICROCHIPS

We’ll be back in a few weeks with the final releases in our Winter batch: Lisa Cameron/Robert Horton……More Eaze…..and Ernesto Diaz-Infante. And then in the early months of 2018, an exciting new poetry collection from John Sweet!

As always, thanks for your support as we finish out our 12th year  of operation.

 

October 31, 2017

new album “3 Heads Tame” from guitarist TOM CREAN (KSE #385)

Filed under: Uncategorized — kendrasteinereditions @ 6:40 pm

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

7 String Guitar, Classical Guitar, Classical Banjo, Bass, Production, and Engineering – Tom Crean

Compositions by Tom Crean with contributions by Matt Robidoux and Ernesto Brute

tom crean 2017 3 heads

KSE is happy to present our fourth album from Western Massachusetts guitar/banjo innovator  TOM CREAN. His first album, WIRED LOVE, featured solo guitar and banjo; his second was a duo album with electronic musician Mike Barrett (aka Belltonesuicide); his third was a duo album with fellow stringed-instrument player Matt Robidoux (which is still available!); and now comes his fourth, 3 HEADS TAME, a solo album quite different from any of the others.

As someone who grew up listening to albums by guitar experimentalists such as Derek Bailey, Fred Frith, Sonny Sharrock, Jean-Francois Pauvros, Hans Reichel and many others, I have wanted KSE to get behind today’s creative guitarists (and banjo players and bajo sexto players, etc.) and give them an outlet to explore new territory and create new works without worry of commercial concerns or marketing. We’ve issued dozens of albums featuring guitars behaving non-traditionally, but in particular we’ve given an annual platform to Ernesto Diaz-Infante out on the west coast (in the SF Bay area) and Tom Crean on the east coast (in Western Massachusetts). Tom has put a lot of time and thought each year into the concept and execution of these albums, and they’ve been very well received by our listeners, underground radio, music bloggers, etc. When I asked him about the genesis of this new album, he stated,

“Half of the compositions on this recording are inspired by various unidentified “Transcriptions” compositions. “Transcriptions” are the appropriation of non-art musics and scoring for experimental music ensemble. The “Transcriptions Manifesto” was recently released, this document describes the process of writing “Transcriptions” with the open invitation and intent that others will score “Transcriptions” as part of the Transcriptions Project as a whole. Besides these fragments of “Transcriptions,” the rest of the performances of my works are improvised. Ernesto Brute’s piece is a graphic score and Matt Robidoux’s piece is from one of the rock bands he played in called Pony Bones, which put out a tape 3 years ago and lent itself well to a classical guitar arrangement. Almost all takes were done the first time. There is no multi-tracking (except the last track.) All the electric instruments were recorded straight into the computer from a multi-effects processor (I’ve found this more effective especially with 7 string guitar.) The other pieces were recorded in a spacious room at home.”

3 HEADS TAME is not an easy album to categorize–it tends to be understated, and though I’ve listened to it a dozen or more times as I’ve been getting the release ready, it has an inscrutable quality to it, a quality that compels you to listen again and investigate further. I’ve been re-reading the late-period poems of W. S. Merwin recently, and they seem to have a similar quality. Neither can be unraveled easily, and neither depends on some facile “concept” or faux-avantgarde game-playing.

Another snapshot taken on the fascinating musical journey of Tom Crean. And while  you are at it, why not also pick up his earlier duo album with Matt Robidoux, and album I’ve been playing regularly for the last year and which still challenges me.

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

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.

NOTE: you can STILL get Tom Crean’s previous KSE album, a duo with Matt Robidoux, 

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

also available, FOUR albums from Alfred 23 Harth:

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

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

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

and also….

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

KSE #377 (CDR) JOHN BELL , ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

KSE #373 (CDR), DANE ROUSAY, “Anatomize” , solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” … one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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 #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

Thanks for your support over the years….stay tuned for the rest of our Fall/Winter 2017 releases, from MATT KREFTING, LISA CAMERON/ROBERT HORTON, MORE EAZE, and ERNESTO DIAZ-INFANTE….

October 22, 2017

SHANGHAI QUINTET (with Alfred 23 Harth), “ShangShan/Stone Age Music” (KSE #379), new album now available!

Filed under: Uncategorized — kendrasteinereditions @ 7:49 pm

Shanghai Quintet (with Alfred 23 Harth)

ShangShan/Stone Age Music

Live at Power Station of Art/Shanghai, October 2016

 Part I  –  31:40        . Part II – 11:01

composed by Shanghai Quintet

Alfred 23 Harth: reeds, samples

Jun-Y Ciao: reeds         MaiMai: guitar

Xu Cheng: electronics, metal percussion                 Tao Yi: drums

ALFRED SHANGHAI COVER

We are very proud and excited to bring you ALFRED 23 HARTH’s 11th (!!!) KSE release (12th if you count his appearance on our 10th Anniversary Compilation album), SHANGHAI QUINTET—-an exciting communal performance with young Chinese musicians recorded last fall in Shanghai at one of the city’s most highly-regarded art spaces, Power Station of Art. Since recording the classic JUST MUSIC album in late 1969 (which came out early the next year on ECM), Mr. Harth has always been about collaboration and collective performance, and he’s consciously been re-dedicating himself to the “one element in the mix” collective/collaborative model in his recent performances and albums (his last KSE album was BERLIN ENSEMBLES, and he requested initially to not have his name featured in the artist credit on the front cover, just in the personnel listing on the back).

These two pieces (running about 43 minutes) document a fruitful collaboration–no one dominates, and there’s even a second reed player in addition to A23H. I’ve listened to it in the car, on a cheap boombox, on headphones outside before dawn, etc., and it’s a performance I can’t help wanting to revisit. There’s a variety of shades and textures and a delicious ebb-and-flow to the performances. I was unfamiliar with the Shanghai-based musicians prior to this album, but I’m looking forward to further work from them. When artists place themselves in new and unfamiliar territory, they bring out unexpected sides of themselves–Alfred Harth has an almost five-decade history of doing that, and with his natural shape-shifting inclinations, there’s an infinite amount of variety possible.

Also, the West (and here in the USA, in particular) does not have enough cultural exchange with Asia, and in particular China. Were I in charge of the world, we’d have far more cultural and educational exchanges, far more collaborative projects–a small Texas micro-label devoted to experimental music putting out an album by a group who is 4/5 young musicians from Shanghai, China, is a good start. Even if I never get over there or they never get over here, we’ve “embraced,” so to speak, through the medium of art.

Get your copy of SHANGHAI QUINTET with Alfred 23 Harth now. Only $8 postpaid in the US. See below for ordering details (and foreign pricing)….

Shanghai Quintet (2)

the members of the SHANGHAI QUINTET

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)

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.

You can STILL get a few of Alfred Harth’s other recent albums for KSE: 

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

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

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

and also….

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

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

KSE #377 (CDR) JOHN BELL , ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

KSE #373 (CDR), DANE ROUSAY, “Anatomize” , solo percussion from the San Antonio-based composer and multi-instrumentalist

KSE #375 (CDR), MASSIMO MAGEE & JAMES L. MALONE, “The Limits Of The Possible” … one of .KSE’s most acclaimed artists,  saxophonist-composer-theorist Massimo Magee is back with a blistering duo album with guitarist James L. Malone

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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 #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

shanghai 3

A23H in front of the poster for the show at which the album was recorded

shanghai 4.JPG

As always, thank you for your support of KSE….now in our 12th year of operation, from San Antonio, Texas….

SHANGHAI QUINTET is the first of SIX new albums coming out between now and January, the others being from TOM CREAN, LISA CAMERON, MATT KREFTING, MORE EAZE, and ERNESTO DIAZ-INFANTE….stay tuned!

September 23, 2017

now available…spoken-word CDR album “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems” (KSE #381)

Filed under: Uncategorized — kendrasteinereditions @ 11:58 am

KSE #381 (CDR), BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”….readings of the five poems composed in Louisiana in 2016, soon to be published in one book-length volume

BRIDGE CDR POETRY ALBUM 2017

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

These five six-page poems were composed during my May 2016 writing vacation on Bayou Teche in St. Landry Parish, Louisiana. They were published initially in 41-copy homemade KSE editions in 2016, all of which are long out-of-print. The five pieces are

BRIDGE ON THE BAYOU

REVELATION IN SLOW MOTION

RECONDITIONING

SATORI IN OPELOUSAS

SCRAPPLE

These will all appear later this year in a 44-page professionally printed 8″ x 10″ paperback, in the same publication format as my earlier collection DOWN AND OUT IN GULFPORT AND BILOXI. What’s on offer here is the album of my reading these pieces. These spoken-word poetry albums I’ve done over the years have always emphasized atmosphere—-you hear the sounds of the reading environment, capturing the textures and particularities of the event of the reading performance. The earlier albums were recorded by Derek Rogers, during the period he lived in Austin, and the recent albums were recorded by Marcus Rubio (aka More Eaze), both gentlemen with whom I’ve done poetry-and-music collaborations and who truly “get” the form of the poems and how to re-create that via a recording. This particular album contains a “guest performance” of aleatory percussion effects from the paws and collar of Marcus’s dog Pierre.

As for the poems, why don’t I quote some of last year’s comments on the first of the five, BRIDGE ON THE BAYOU (this was written for someone who was unfamiliar with my poetry–probably most of you reading this do not fall into that category):

“The spring was nothing new to him, nor its sounds, its perfumes, its colors; nor was its tender and caressing breath; but, for some unaccountable reason, these were reaching him today through unfamiliar channels.”

–Kate Chopin, An Easter Day Conversation

After a lot of planning/organizing/note-taking (which I always do for each work—-one cannot get any useful construction done without a blueprint and without first laying a foundation) during spare minutes in the Spring of 2016, I hit the ground running when I finally got my almost-two-week “writing vacation” on Bayou Teche, on the south end of Arnaudville, Louisiana, in St. Martin Parish, in the second half of May 2016. Enjoying strong black tea each morning on a floating dock on the bayou, watching the sun come up, I worked hard  into the afternoon and then again in the late night…and managed to produce  FIVE six-page poems, of which BRIDGE ON THE BAYOU is the first. Each is a collage of images filtered through a different narrative persona, reflecting an invented but likely narrative set in that area, presented in the open-field style….core samples of the state of things and of consciousness circa 2016, postcards from the front, junk sculpture from the New Gilded Age. If you are new to my poetry (and greetings to those who saw my reading at TYCA-SW or who stumbled across DOWN AND OUT IN GULFPORT AND BILOXI on Amazon or elsewhere), my technical roots are in Paul Blackburn, Ted Berrigan, Larry Eigner, mid-to-late 60’s Robert Creeley, Diane Wakoski, and late-period W. C. Williams—-although I have taken that ball handed off to me by the poets of earlier generations and run with it in my own directions toward my own goals. My first book-length work, from 2005, was 12 GATES TO THE CITY: THE LABOURS OF HERCULES IN THE LONE STAR STATE (published by Word Mechanics), a twelve-part journey along the Interstate-10 corridor from Lake Charles to Las Cruces, though mostly here in Texas, which treated the source legend of the classical Hercules and his 12 labours the way I felt that Jean-Luc Godard had treated KING LEAR in his little-known adaptation from 1987, a work which was a huge inspiration. It’s been a long, strange trip for me since then, issuing over a hundred five-to-eight page poetry chapbooks, another book-length work (Point Loma Purple), and operating the music-and-poetry collective Kendra Steiner Editions, which has released over 350 albums and chapbooks and which has carved out a significant international presence in that time…. 

The words, phrases, and stanzas float on the page; the insects, dirt, leaves, and broken twigs float downstream on Bayou Teche. If you are new to the world of post-Projective Verse poetry composition, I recommend reading the following essay, “Projective Verse: The Spiritual Legacy of the Beat Generation,” by Paul E. Nelson: http://paulenelson.com/organic-poetry/spiritual-legacy-of-the-beat-generation/

BRIDGE ON THE BAYOU….energized particles of language and consciousness with the taste of central Louisiana….six pages, six fields, six assemblages, six “portholes of consciousness”…..thick pine smoke in our eyes, already moist with tears….husky patriots armed with dogwhistle jargon meet behind the rose hedges….her brother had become inattentive at his job at the meat processing plant, consumed with his quest to find a cache of treasure buried in a brass bucket by retreating French pirates two centuries past….detached, but not indifferent….manifestations of Siva on the horizon….hard trials & great tribulations….

This album has been in circulation privately for many months, but I wanted to get all the Summer 2017 KSE music releases out first before I released this. Now that those are all out (and the first of the Fall/Winter releases, from Alfred 23 Harth, will be coming in a few weeks), it’s time to get this out to a larger audience (I hope!). It should be an excellent entry-way to the book publication of these pieces. With writers as diverse as Chaucer and Gertrude Stein, hearing a recording of an author’s work being read often can give one an excellent sense of how it reads on the page, allowing for the reader to sound out the words in his/her/their head while savoring the language. I’ve been told by a number of readers that hearing my pieces read helps give them a voice to hear on the page. You be the judge.

$8 postpaid in the USA  

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.

FOREIGN KSE FRIENDS: we have a lot of great albums to use for your second album, costing only 2 dollars more (!!!) than one album, due to the exorbitant foreign postage rates, which are pretty much the same for one or for four or five cd’s. Take advantage of that and get some OTHER CDR ALBUMS OF EXPERIMENTAL MUSIC (and more) PRESENTLY AVAILABLE FROM KSE:

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

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

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

KSE #373, DANE ROUSAY, “Anatomize” 

KSE #381, BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”…

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

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


You can also get some KSE poetry chapbooks in the same order with your CDR’s (note: foreign orders must buy a minimum of two CDR’s in order to get poetry chapbooks at these prices…write me if you have any questions….sorry, but that’s the way the US Postal Service operates….it costs me $14.50 to send ONE cdr overseas)

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #386 (poetry chapbook), BILL SHUTE, “Trimmings”

KSE #382 (poetry chapbook), BILL SHUTE, “The Difficulties, The Impossibilities”

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals”

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown”

KSE #376 (poetry chapbook), BILL SHUTE “New Jerusalem”

KSE #372 (poetry chapbook), BILL SHUTE, “Guest Register”

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

Thanks for your support as we are in our 12th year of operation, dedicated to forward-thinking music and poetry.

 

FYI: The earlier copies of this poetry album which were in circulation contain an incorrect stock number, one which was later assigned to another album. I doubt anyone “trainspots” our releases that closely, but I wanted to make that clear in case there is any confusion… KSE #381 is the correct number for this release, NOT KSE #368….

 

August 22, 2017

new album from SAMUEL DUNSCOMBE and TIM OLIVE, “Zanshi” (KSE #371)

Filed under: Uncategorized — kendrasteinereditions @ 8:31 pm

samuel_0001

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

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

All sounds performed by Samuel Dunscombe and Tim Olive in Kobe, Japan (2015).
Recorded and mixed by Samuel Dunscombe
Mastered by Alan Jones (Laminal Audio)
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Artists’ statement on this album:
Zanshi: residue, vestigial traces, dregs.  Zanshi is what is left after the core of an object, sound, image, has been removed.  A faint impression, a decaying outline, perhaps in which the original is no longer clearly recognisable.  This album applies this process to a number of sound-generators: the clarinet, the guitar, radio, analogue tape, field recordings, and others.  Sounds and instruments are de-cored, hollowed out; the fragile remnants are amplified, examined from multiple angles, pushed and pulled.  You hear the faint outline of one afternoon in Kobe, Japan, 2015. (SD, TO)

.

Thanks to Steve Flato for alerting me to the work of Samuel Dunscombe and Tim Olive. Little needs to be added to their statement above….except that the album is richly textured, and three-dimensional and crystalline in my mind’s eye, fully embodying the “de-cored….hollowed-out” technique of the sound sculpture heard on ZANSHI .
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The extreme alteration-through-subtraction used here (kind of a “homeopathy in sound,” if I may coin a phrase) is a technique I have always found fruitful. Growing up in the 1970’s, I was very influenced by 1960’s works such as Warhol’s silkscreens (and the ones which most distorted and redefined the original image were always the most satisfying to me) and the process of extreme subtraction and thus dislocation found in the 1962 poetry book “The Tennis Court Oath” by John Ashbery. I am also a silent film aficionado and over the years have watched a number of deteriorated prints of otherwise-lost films, some of which resembled the image found on the cover of this album.
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I’m also reminded of a fascinating exhibition at the Menil in Houston a few years ago, “Apparitions: Frottages and Rubbings from 1860 to Now,” which showed a wide variety of visual artists reveling in the “residue and vestigial traces” described by Dunscombe and Olive. Here is a link to a description of that exhibition:
 https://www.menil.org/exhibitions/234-apparitions-frottages-and-rubbings-from-1860-to-now
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And for another example of the kind of synchronicity in the arts that makes life worthwhile….While listening to ZANSHI in preparation for its release, I was re-reading the Gertrude Stein collection LAST OPERAS AND PLAYS. In the most extreme texts found in that collection, when Stein has subtracted the traditional elements of plot, character, dramatic structure, etc. from these “operas and plays”, what remains—-the words on the page—-are a kind of ZANSHI.
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The residue, the flotsam and jetsam—- decontextualized—- are now central, forcing us to recalibrate, to let go and venture outside of our comfort zones, and to find the beauty in that which has been discarded and weathered by the elements. Hints of now-illegible images on the sides of long-abandoned buildings from Rocky Mountain ghost-towns having become new and cryptic and fascinating “works”—-that is the essence of ZANSHI. And that’s what is behind the austere beauty of this new album, these two extended sound sculptures from Dunscombe and Olive.
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I rarely use headphones—-I’m an old-school listener who wants to hear my music through speakers—-but headphones add another level to one’s experience of ZANSHI. You are plunged into the world of what’s left when what was considered essential has been removed. ZANSHI.
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Get your copy of this unique and satisfying album now. It’s the last of our new music releases for Summer 2017 (there will be a spoken-word poetry album in a week or two, which is technically the last album in our Summer schedule), and then we’ll take a break for a month or so when we’ll come back with the fall/winter round of albums, beginning with another heavy-hitter from ALFRED 23 HARTH, “SHANGHAI QUARTET….ShangShan/Stone Age Music”.
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Visit Samuel Dunscombe and Tim Olive at
http://www.samueldunscombe.com/
https://timolive.org/
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$8 postpaid in the USA  (see below for foreign pricing and ordering instructions)

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.

FOREIGN KSE FRIENDS: we have a lot of great albums to use for your second album, costing only 2 dollars more (!!!) than one album, due to the exorbitant foreign postage rates, which are pretty much the same for one or for four or five cd’s. Take advantage of that and get some OTHER CDR ALBUMS OF EXPERIMENTAL MUSIC (and more) PRESENTLY AVAILABLE FROM KSE:

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

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

KSE #373, DANE ROUSAY, “Anatomize” 

KSE #381, BILL SHUTE, “Bridge On The Bayou: Bill Shute Reads the Arnaudville Poems”…

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

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

Thanks for your support as we are in our 12th year of operation, dedicated to forward-thinking music and poetry.

August 10, 2017

5th in the series of Natchez poems, THE DIFFICULTIES, THE IMPOSSIBILITIES, from Bill Shute (KSE #382)

Filed under: Uncategorized — kendrasteinereditions @ 10:04 am

(note: thanks to all who came out to my reading at Artpace on August 8th, as part of the Right Now Experimental Music Festival….we had an audience of 65-70 for my set, and the entire evening was a great success with exciting performances from many cutting-edge experimental sound artists…including KSE recording artists MORE EAZE and DANE ROUSAY)

the fifth release from the recent poems written in Natchez, Mississippi

BILL SHUTE, “THE DIFFICULTIES, THE IMPOSSIBILITIES”

(KSE #380, poetry chapbook)

edition of 41 hand-cut, hand-assembled copies

$6 US postpaid / $7 elsewhere postpaid

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

please leave note with your order letting me know which items you are ordering and your mailing address…..thanks!


“to trust chance is to hear voices” — Jean-Luc Godard

the difficulties cover pic

I composed SEVEN six-page poems during my two weeks in Natchez, Mississippi, in May 2017, and here is the fifth one to be edited and formatted: THE DIFFICULTIES, THE IMPOSSIBILITIES. The final two will come out gradually throughout the year, and I also hope to record all seven later this summer for 2018 release. As usual, it’s open-field poems filtered through the consciousness of a narrative persona who is up to his waist in the muck, but looking toward the horizon (I’d say stars, but these were written during the daytime)—-JUNK SCULPTURE FROM THE NEW GILDED AGE.

Cork-lined reveries of  exploding water-heaters and garage doors that won’t close….frozen music on the brink of intelligibility….no subject, no object….like the butterflies, I strive to remain well-camouflaged, sensitive to the tonal changes between the tragic & the absurd.

These seven pieces written in Natchez will eventually be collected in a full-sized professionally printed book, but as always, the home-made KSE chapbook publication is the only publication in the original formatting, with the original art, with the original epigraph (this time from Jean-Luc Godard, see top of post), and in the intended form of its creation. There are only 41 copies….grab one now, while you can.

Each of these chapbooks is a stand-alone piece (the “serial poem” concept of Jack Spicer seems to fit my work well), so don’t worry about what order they are in. I consider each narrator to be a unique person telling his/her unique story from his/her unique perspective. I as poet am just the actor playing the part, the gallery-operator assembling the exhibition.

Many times I see a film or view a painting or hear a piece of music and feel as though its creator has experienced the same kind of epiphany which I experienced in the creation of a particular poem—-or perhaps I should say that the work creates in the viewer/listener the same kind of epiphany which I feel the poetic assemblage I am offering up SHOULD create in the reader. I’m not mentioning poetry here because if I felt another poet was doing what I do in the way that I do it, there would be no reason for me to take the time and effort to repeat what’s already been done. I learned my craft when I was younger through close study of the works of Paul Blackburn, Ted Berrigan, Larry Eigner, Frank Samperi, Diane Wakoski, Robert Creeley, William Carlos Williams, and others. I took what I learned from them and combined that along with my own aesthetic and life experience and structural tendencies and reading and education, and the result has been my poetry. I still consider someone like Hart Crane or Emily Dickinson the ultimate in what one can achieve poetically, and I continue to read with a passion the poems of Melville, W. S. Merwin, John Ashbery, Stuart Z. Perkoff, Leland Hickman, and many others, but I can’t really talk about “influence” in those cases because my work does not resemble theirs in any obvious way….and with a Crane or a Dickinson, who could EVER be worthy to loosen their sandal straps….or even be mentioned in the same sentence? In the case of, say, a Blackburn or a WC Williams, it should be clear to most readers what I have taken from those gentlemen and how I have developed it and/or extended it. You can take or leave the end result (or, in most cases, be blissfully unaware that it even exists), but that’s my story, and I’m sticking to it.

I mention all this about feeling a kinship with works in other disciplines because as I re-read THE DIFFICULTIES to write this post, it dawned on me that it reminded me of a silent comedy short I used to own back in the 1980’s on a VHS tape…..the 1927 short MOVE ALONG, featuring Lloyd Hamilton. It’s not on You Tube,, but you can read an excellent appreciation of the film here: http://silentbeauties.blogspot.com/2012/05/move-along-1926.html

Also, at the time of this writing, you can view the film in so-so quality (about the same as my old VHS tape, actually) here: https://free-classic-movies.com/movies-02/02-1926-07-25-Move-Along/index.php

You don’t need to watch the entire thing….check out the first three or four minutes, and you’ll get a good sense of where I feel I’m coming from with this series of poems, and THE DIFFICULTIES in particular. In fact, while it is too pretentious a title for a comedy short, you could probably re-title MOVE ALONG as THE DIFFICULTIES, THE IMPOSSIBILITIES and it would be a fairly accurate label. This comparison may seem odd or confused to many—-however, if it makes sense to you, then you are probably my ideal reader. Nice to meet you!

I hope you find THE DIFFICULTIES, THE IMPOSSIBILITIES interesting and worthwhile. Thanks for your reading all these years!

Also available, for the same price:

($6 US ppd/$7 elsewhere ppd)

KSE #380 (poetry chapbook), BILL SHUTE, “Time Crystals,” 4th of the Natchez poems

KSE #378 (poetry chapbook), BILL SHUTE, “Meltdown,” 3rd of the Natchez poems

KSE #376 (poetry chapbook), BILL SHUTE, “New Jerusalem,”  2nd of the Natchez poems

KSE #374 (poetry chapbook), BILL SHUTE, “Guest Register,” 1st of the Natchez poems

the difficulties cover pic

July 30, 2017

new solo percussion album from JOHN BELL, “Cambridge Surprise Minor and other peals” (KSE #377)

Filed under: Uncategorized — kendrasteinereditions @ 12:58 pm

JOHN BELL 2017 cover

JOHN  BELL

“Cambridge Surprise Minor and other peals” (KSE #377), cdr album

compositions for percussion, recorded in South Korea, New Zealand, and Laos

John Bell: vibraharp, glockenspiel, shell casings, gongs, scrap metal, bells,    piano frame, khong vong

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

…………………..

Vibist, percussionist, multi-instrumentalist, and composer JOHN BELL is probably best-known outside of his home bases of South Korea and New Zealand for his collaborative work, both in concert and in the studio, with ALFRED 23 HARTH, including the much-acclaimed CAMELLIA album for KSE (#318, still available) and the forthcoming CAMPANULA, on the Moloko Plus label from Germany.

After working with Mr. Bell on CAMELLIA, KSE invited him to create a solo album, to further introduce him and his fascinating work to North American listeners. CAMBRIDGE SURPRISE MINOR AND OTHER PEALS is that album, and like Dane Rousay’s recent ANATOMIZE, it is an album of compositions for solo percussion. Along with the human voice, percussion would have to be the “instrument” with the deepest roots in antiquity and in the widest variety of world cultures. Percussion music can be created from the materials at hand, and that’s what John Bell does here on his new KSE album. While vibes, glockenspiel, and gongs are used, so are scrap metal and abandoned shell casings, as well as a piano frame and the ancient “khong vong” gong circles. These 13 sound paintings-in-percussion, suspended on the canvas of silence, resonate in many many ways….and I would suggest that in listening to this album (and I’ve played it dozens of times since getting the master) you try setting individual tracks on “repeat” to get deeper into them and also setting your player on “random” so you can hear the pieces juxtaposed in different combinations. It is a rich and complex yet deep and elemental series of pieces, an album I can’t imagine getting old. I asked John Bell for some comments on the album, and here is his reply (by the way, this lay-person mistakenly thought that the word “peal” referred simply to the ringing of a bell, the generic sound generated from a bell….how wrong I was….it is far more than that, and I would suggest you click on this definition of PEAL from Wikipedia before proceeding further here       ( https://en.wikipedia.org/wiki/Peal ):

 

‘About 15 years ago I felt compelled to visit the peal of bells at St Matthews in the city Auckland (the second largest peal in New Zealand). I was lucky enough to be invited to their rehearsal on a Tuesday night, and even though I didn’t mention my family name, they invited me to enlist in the group of trainee bellringers. Despite the impressive sound I declined the invitation. I must have to blame my mother’s side of the family because, at that time I was somewhat repulsed by any slavish discipline such as precise rope pulling. 15 years ago I would never have contemplated spending even the one and a half days it took to record the title track of this album (a full length version of a common English peal). Bill Shute did me a huge favour when he asked me to record a solo album for KSE. Bill gave me nearly five months to send him the material.

 In the last twenty years I ve performed and recorded plenty of frenetic chime smashing, clappers flying around, and more recently lots of bowing and scraping in some free jazz ensemble or similar. So for this first solo album, I decided to explore the bell-ringing side of things,  limited myself to struck metal, only a tiny bit of bowing some metal on one track (  If once I was a bell ). There was also plenty of time to layer tracks and consider panning and mixing ideas.

 Bells are multi-faceted symbols and salient in many cultures. I have been living in South Korea for more than four years , and sadly there are no church bells anywhere near my house. Like most people in Korea, I live in a valley, nowhere near any of the large impressive temple bells, so have only heard one live once! The compensation for this is the prevalence of beautiful gongs in Korean traditional music. I was also lucky enough to be allowed to spend some time recording on  a set of khong vong at the national school of music and dance in Laos last year.

Thanks to Rod Cooper of Melbourne for showing me the simple idea of polystyrene as a reasonator box.

I hope everyone enjoys this album’

John Bell 30 July 2017

KSE is proud to present our second album of composition for percussion for Summer 2017 (the first one was by San Antonio percussionist and composer Dane Rousay), JOHN BELL’s CAMBRIDGE SURPRISE MINOR AND OTHER PEALS (KSE #377)

Be sure to grab this exciting and satisfying CDR album ASAP….

 

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

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.

FOREIGN KSE FRIENDS: we have a lot of great albums to use for your second album, costing only 2 dollars more (!!!) than one album, due to the exorbitant foreign postage rates, which are pretty much the same for one or for four or five cd’s. Take advantage of that and get John Bell’s previous album with ALFRED 23 HARTH “Camellia”, our new album of compositions for percussion from San Antonio’s DANE ROUSAY, the latest album by Ernesto Diaz-Infante “Manitas,” Alfred 23 Harth’s BERLIN ENSEMBLES, etc. See below:

OTHER CDR ALBUMS OF EXPERIMENTAL MUSIC (and more) PRESENTLY AVAILABLE FROM KSE:

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

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

KSE #373, DANE ROUSAY, “Anatomize” 

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar

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

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

Thanks for your support as we are in our 12th year of operation, dedicated to forward-thinking music and poetry. Our next summer release will be the album from Samuel Dunscombe and Tim Olive, in early-to-mid August….although you can order an advance copy NOW for immediate delivery. See you then….

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