Kendra Steiner Editions

April 13, 2018

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

Filed under: Uncategorized — kendrasteinereditions @ 7:31 pm

dane 2018 cover

DANE ROUSAY (solo percussion)

“AN INEVITABLE SOLUTION (TO)”

KSE #398, cdr album      $8.00 postpaid in the USA (see below for foreign prices/postage)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

now available for immediate shipment:

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

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

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

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

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

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

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

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

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

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

KSE #377 (CDR) JOHN BELL (new for July 2017), ‘Cambridge Surprise Minor and other peals’….new compositions for percussion from Bell, well-known for his collaborations with Alfred 23 Harth….

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

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

dane 2018 cover

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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 20, 2018

ARISING, ABIDING, AND DECAY (KSE #393), seventh and final chapbook in the Natchez Poems sequence

Filed under: Uncategorized — kendrasteinereditions @ 7:16 pm

the seventh volume from the recent poems written in Natchez, Mississippi

BILL SHUTE, “ARISING, ABIDING, AND DECAY”

(KSE #393, poetry chapbook)

edition of 41 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 letting me know which items you are ordering and your mailing address…..thanks!

ARISING cover

“the living can assist the imagination of the dead”–W.B. Yeats

I composed SEVEN six-page poems during my two weeks in Natchez, Mississippi, in May 2017, and here is the final one in that sequence: ARISING, ABIDING, AND DECAY (KSE #393).

Re-reading these stanzas as I was assembling the ARISING chapbooks earlier today, I could sense what a Jeremiad this piece is, but do we really have much choice in the present environment? The previous six Natchez chaps depicted a wide variety of imagery and tone, but the closing piece, inevitably, has to reflect the ugly, depressing nature of today’s struggle. However, as the repeated refrain (on pages three and six) suggests, maybe the fever will burn up and kill the infection, and then all these troubles will have been worthwhile?

Sometime in February, we will be offering, FOR JUST A FEW WEEKS AS A ONE-TIME OFFER, all SEVEN of the NATCHEZ CHAPBOOKS for one discounted price. This would be your ONLY opportunity to get the original KSE editions of these works as a set (the first one is almost sold out, so once that happens, you could not assemble a full set). Yes, these will probably be published as a set in an 8″ x 11″ book in the future, and that will be nice and I hope you’ll get one of those, but the original hand-assembled, home-made KSE editions of these poems are, to me, the intended and original form. It’s kind of like a small-label local 45 (the KSE printing) which is later picked up and reissued by a nationally distributed label (the eventually professionally published book version). The latter will get out to more people and make more of a general impact, but the true original has a certain purity about it and represents original intentions….or so I think, but maybe I’m biased? 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 William Butler Yeats, 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.

I hope you find ARISING, ABIDING, and DECAY interesting and worthwhile. Thanks for your reading all these years!

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 #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

 

Also in February or early March, we’ll be bringing out a new collection of poems from longtime KSE poet and a true original, JOHN SWEET….stay tuned for it!

January 10, 2018

(unfortunate) changes in foreign postage rates on poetry chapbooks

Filed under: Uncategorized — kendrasteinereditions @ 11:44 am

Next week, the US Postal Service is going to do away with the “flat” designation for foreign postage, restricting it to only correspondence and documents. The “flat” label allowed me to mail ONE KSE poetry chapbook for a reasonable amount (3 or 4 dollars) and thus keep the cost of one poetry chap at a level just slightly higher than the domestic rate. That is now over. It costs us $14.50 to mail one CDR overseas now, and it will be about the same amount to mail one poetry chapbook from here on out. I’d like to think that our poetry chapbooks are wonderful and priceless, but I’d be a fool to think that anyone–even a good friend or family member!–would pay $17 or so for one small poetry chapbook. My friends/colleagues in the small press world are freaking out over this change. Also, I noticed that SHOCK CINEMA magazine is pretty much doing away with foreign subscriptions now because of this policy. Here at KSE, we want to do something fair for the overseas poetry customers, but we cannot lose money on each sale. The thin margin above cost is what keeps this ship afloat. Therefore, we’ve come up with a new foreign postage policy for poetry chapbooks, stated below the pic…

texture

Most foreign poetry book orders are for multiple books, and those orders should stay at about the same price, even dropping a bit, but single-chapbook orders are no longer feasible outside the US. So…

POETRY CHAPBOOK ORDERS OUTSIDE THE US:

MINIMUM 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.

I don’t like having to make these changes, but it seems the fairest way to work. I appreciate your support all these years (we’ll be going into our 13th (!!!) year of operation on March 1st 2018). If you have a better idea on how to handle this massive postage increase, please let me know.

I’ll add the price changes gradually to the announcements of all in-print chapbooks over the next few days, but the new prices are effective IMMEDIATELY. Again, most overseas orders are for multiple chapbooks (thanks for that!) presently, and your rates will not really change if you’re ordering 3 or 5 or 7 or whatever.

There will be a special poetry promotion/sale running for the month of February which will be announced soon.

Of course, Europeans and Canadians can get a copy of my recent 40+ page collection BRIDGE ON THE BAYOU (containing all the Summer 2016 poems composed in Louisiana) from your local Amazon website in your home country: Canada, Germany, France, UK, etc. It will be printed locally for you and will have only local postage. That’s by far the best way to go for your money–and you can also get the earlier collection DOWN AND OUT IN GULFPORT AND BILOXI that way through Amazon too.

We have a lot of poetry-related things happening in 2018, so thanks for your support and stay tuned here for announcements….

09-06-2011 08;22;26PM

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

December 1, 2017

STOLEN MOMENTS (1920), starring Rudolph Valentino

Filed under: Uncategorized — kendrasteinereditions @ 2:46 pm

STOLEN MOMENTS

starring Marguerite Namara and Rudolph Valentino

shot in St. Augustine, Florida, and Savannah, Georgia

originally released in a six-reel version by American Cinema Corporation in Dec. 1920

re-released in a three-reel edit by Select Pictures in 1922, highlighting Valentino

available on the 2-dvd set VALENTINO: REDISCOVERING AN ICON OF SILENT FILM, released in 2007 by Flicker Alley, which also includes THE YOUNG RAJAH (reconstruction), A SOCIETY SENSATION, and MORAN OF THE LADY LETTY, plus a boatload of special features that paint a fascinating personal portrait of Valentino–alas, that set is now out of print and goes for big bucks!

stolen 1

poster from the three-reel reissue, which is all that survives today

TCM ARCHIVE

poster from the original six-reel release, which does not survive today (and which does not mention Valentino)

Before rocketing to stardom in early 1921 in THE FOUR HORSEMEN OF THE APOCALYPSE, Rudolph Valentino was a busy character actor, often in villain roles, and STOLEN MOMENTS was his final pre-stardom film, made right before HORSEMEN for the Florida-based American Cinema Corporation. The clearly Southern location shooting is quite refreshing, and for the part of the film set in Brazil, the American South certainly looks a bit more convincing than Culver City, California, would have.

The film was a vehicle for opera singer Marguerite Namara–she’d recorded for Thomas Edison and studied at the Milan Conservatory, and after finishing there actually performed at the Teatro Politeamo in Genoa. She performed on Broadway, had operas written especially for her, played the Royal Albert Hall on five separate occasions, and counted among her friends Enrico Caruso, Charles Chaplin, Ernest Heminigway, Isadora Duncan, Auguste Rodin, Noel Coward, Gertrude Stein, and Pablo Picasso! She lived until 1974, recorded her last album in 1968, and did a lot of painting in her later years. Clearly, her brief flirtations with the cinema were no more than a blip on the radar screen of her long career.

She has a somewhat thankless role here–she was 32 when she made the film (Valentino was 25), and her character is initially a flighty, girlish young lady who is infatuated with a dashing Brazilian author of racy books (Valentino, of course) and who makes the mistake of writing mash notes and desire-filled book inscriptions to her heart-throb. When Valentino announces to her that they cannot marry–you see, he views their relationship as “on a higher plane” than regular, mundane marriage can accommodate–they break up, and he heads back to Brazil. He eventually returns to America (and it must be at least 3-5 years, as she’s now married and with children) and, cad that he is, tries to blackmail her into a new affair with the threat of exposing the old love notes. At least that’s the plot in the edited re-release version, which is all that now survives of the film. I’d guess that Namara has many more scenes on her own in the original film, and the way that the murder element in the film’s final ten minutes is rushed, that too probably is handled in more detail…as is the backstory of her now-husband. She’s certainly no Lillian Gish, but she’s no worse than many other now-forgotten leading ladies in the hundreds of lesser-known silent films I’ve seen. I’d guess that in her opera career, she’d had to play characters who are young in the earlier scenes and then mature throughout the opera–she’s probably channeling that kind of experience when she plays the immature and infatuated younger lady in the first half of the 30-or-so minutes of this edited re-release.

However, that the film exists today at all is because of Valentino’s fame and this  exploitative reissue which was edited down to focus more on his scenes. All of his supporting actor work which I’ve seen is quite interesting. He is not meant to be the center of attention, obviously, and seeing him as an ensemble player gives one new insight into his craft. Of course, here he is playing a lecherous Latin American author of what are presumably “spicy” novels which deal with a woman’s “freedom to love,” and the mustachioed Valentino certainly turns on the seductive charm which this character would have oozed when around a potential conquest….at the same time, he has a public image as an educated, erudite author, and we also see him in that persona. It’s an interesting performance. I don’t expect that STOLEN MOMENTS will get some huge revival of interest….certainly not when the Flicker Alley DVD is out of print and it’s unlikely that TCM will show this more than once every year or two….but all I can say is that in the 10 years I’ve owned this film, I’ve watched it probably 7 or 8 times. It still has the whiff of the Victorian Age in its feel, which makes it a fascinating cultural artifact, and the Southern US locations are lovely and well-photographed. The melodramatic plot keeps things moving….especially in this edited version….and there are a lot worse ways to spend 33 minutes. Also, for those who just know Valentino’s name and picture but have never actually sat down and watched a full film of his, something like STOLEN MOMENTS might be a better entry point than, say, THE SHEIK. I’m glad this film survives in SOME form. If you ever get a chance to score a copy of this 2-DVD Flicker Alley set at a decent price, go for it. Each of the four features is fascinating in its own way : MORAN OF THE LADY LETTY is based on a Frank Norris novel, which I read after getting the film….it was one of Norris’s attempts at a popular novel (and it must have succeeded as a film was made out of it!), so don’t be expecting another McTEAGUE….and it’s a great vehicle for the athletic Valentino; THE YOUNG RAJAH is a fascinating creation that drags in Theosophy and some of the 1920’s interest in Eastern spirituality which I discussed in my book POINT LOMA PURPLE (I should write about THE YOUNG RAJAH some time); and A SOCIETY SENSATION is another one of those edited-down re-releases of an earlier film where Valentino was originally a supporting player, and it too is fascinating in hindsight. You also get literally hours of super-rare special features, so if you’ve always wanted to see Valentino at home and informal and with his prize-winning dogs, here’s your chance. There’s even early sound throwaway documentary shorts which contain footage from otherwise-lost films….AND even a trailer from an obscure FBO feature starring Valentino’s wife Natacha Rambova, a film which does NOT survive! I pull this set out every few months and find new gems within it. Valentino needs to be discovered by new generations and given an opportunity to work his magic in a new century….he was a total original and has never been equaled.

stolen 3

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