Kendra Steiner Editions

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

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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

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

xxxxxxxxxx

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/

 

November 25, 2017

6th in the series of Natchez poems, SATORI IN NATCHEZ, from Bill Shute (KSE # 391)

Filed under: Uncategorized — kendrasteinereditions @ 11:08 am

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

BILL SHUTE, “SATORI IN NATCHEZ”

(KSE #391, 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!

…………………………………

“the dropping of a handkerchief can be for

the poet the lever with which we will

lift the universe”–  Frank O’Hara

SATORI NATCHEZ COVER

I composed SEVEN six-page poems during my two weeks in Natchez, Mississippi, in May 2017, and here is the sixth one to be edited and formatted: SATORI IN NATCHEZ. The final one will come out in December, and I also hope to record all seven in the coming months 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.

As I read these pages aloud to Mary Anne after not having looked at the pieces for months, I was reminded how deeply the red wheelbarrows and petals on a wet black bough of my teenage poetry studies took root, then the initial shrubbery later trimmed and pruned through my study of Charles Reznikoff and Lorine Niedecker….but I’m not the kind of person who thinks of influence very often. One learns one’s craft in adolescence and then learns how to apply and develop—-and, we hope, go beyond—-the influences during one’s apprentice years. After that, we have the tools to add whatever life throws our way into our poetic stew and to make it work and make it distinctive and make it seductively tasty in such a way that others will want to consume it….and then want to come back for next week’s variation.

Also, in terms of poetry serving as a core sample of life as it is lived circa 2017, if we want to better understand and to document this age, we need to taste the soil and walk the walk in places such as Natchez, Mississippi. There is a lot to experience, a lot to learn…and a lot to savor. The voices past and present are calling out….

Crew members took the flowers from the tables before the banquet ended….piquant piccadilly sunshine cuts through the layers of kudzu and the residue of habit….standing water from yesterday evening’s showers, widening the cracks in the cream-stained wood, washing the grime from our feet, mis-shapen from the miles marched in steel-toed boots….two black horses pulled the carriage with the coffin through a swarm of beret-wearing beatnik flies, acting as if they were still in Brooklyn…intoning the sutras of the swamp, lined-out by mud, punctuated by mosquitoes, indentured to the payday-loan store & pretending to look alive…..I’m not able to change my gait, but I can adapt it to the needs at hand….

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 Frank O’Hara, 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 SATORI IN NATCHEZ interesting and worthwhile. Thanks for your reading all these years!

Also available, for the same price:

($6 US ppd/$7 elsewhere ppd)

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

and not part of the Natchez sequence, but written after those, while in New Mexico and El Paso

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

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.

 

November 16, 2017

BING CROSBY, “GOOD & RARE, Volume 3” (Sepia UK, CD)

Filed under: Uncategorized — kendrasteinereditions @ 5:40 pm

BING CROSBY, “Good & Rare, Volume 3” (Sepia Records, UK, CD, issued 2016)

BING GOOD 1

During his 50-year recording career Bing Crosby made a staggering number of recordings, a figure made even more impressive when one factors in his decades of radio broadcasts. Crosby also recorded a staggering variety of music during those years, reflecting not only his wide and diverse tastes but also his desire to satisfy different audiences…and also as a singer who worked in a wide variety of formats, and like Elvis, he was someone who recorded many songs for each of his many films. This was also a period when a song that looked to become a hit would be recorded by a number of vocalists, each bringing his/her unique spin to it (and, from a business perspective, looking to carve out their own piece of the pie). And let’s not forget that Crosby was an artist who recorded “concept albums” long before the term existed.

Sepia Records in the UK has done a fine job bringing back into print, in chronological order, Crosby’s  lesser-known late 40’s and early-to-mid 50’s recordings in 10 separate volumes, and those volumes were cherry-picked for quality rarities in the first two GOOD & RARE albums. Thus, I was quite pleasantly surprised when getting this album and finding out that it was NOT another trawl through the 50’s Decca obscurities, but instead a 30-year collection of super-rarities, all fascinating and many of them being demos with just a pianist and a guitarist. I’ve included some brief comments on each track below to let you know its origin. For the Crosby aficionado, this album is one rare treat after another. For the Crosby novice–and probably most regular readers of this blog do not actively collect Crosby recordings or listen to his radio shows in their spare time, I’m guessing–this collection is a fine cross-section of odds’n’sods which should show anyone the mastery that Crosby brought to his performances in any era. Do I even need to say that Crosby is surely the only human being who recorded with both Bix Beiderbecke and David Bowie?

Those who’d like to explore Crosby’s body of work further without spending any money can go three places:

A. The Crosby family website (at bingcrosby.com) offers a Crosby Internet Radio, which you can put on while working or washing the dishes or whatever and get a steady stream of Crosby

B. You can listen to Arne Fogel’s stunning radio show THE BING SHIFT (to be found at http://www.jazz88.fm/show/the-bing-shift/)….Fogel is THE Crosby fan and archivist, so the show is dedicated to DEEP cuts from Crosby’s 50 year recording career….it’s also featured at the Crosby Family website

C. You can listen to and download a few years worth of the early 60’s BING CROSBY AND ROSEMARY CLOONEY (George’s aunt) daily radio show, which was (along with YOURS TRULY, JOHNNY DOLLAR) one of the last shows on CBS radio…Bing and Rosie were not only people who loved working together, they were close friends, and the warmth and good humor and affection between the two is a joy to hear….as are the small group musical performances under the musical direction of keyboard player Buddy Cole (in his own right, a lounge music legend, who is here what my late mother would have called “jazzy”–as opposed to hardcore “jazz”)….on each show, Bing usually takes one song solo, Rosie takes one song solo, there’s one duet, and there’s an instrumental number from Buddy, all held together by the banter between Bing and Rosie and announcer Ken Carpenter (who’s kind of in the Don Wilson vein)….here is a link to 220+ twenty-minute episodes   https://archive.org/details/OTRR_BCRC_Singles

For about ten dollars you can also get the album itself, which includes superb notes from Crosby authority Malcolm MacFarlane (author of BING CROSBY DAY TO DAY and also an Oxford University Press volume on Rosemary Clooney’s late-period career). Here’s the link to Sepia’s listing for the album:  http://www.sepiarecords.com/1296.html

ENJOY!
1. OL’ MAN RIVER (1928, alternate take, w/ Paul Whiteman Orch.)
2. POOR LITTLE G-STRING (1929, unused film recording)
3. SONG OF THE DAWN (the song Bing would have sung in the King of Jazz film–it was sung by John Boles instead–had he not spent the night before in jail!)
4. A BENCH IN THE PARK (1930 radio recording with Rhythm Boys)
5. EVERYTHING’S AGREED UPON (1930 radio recording with Rhythm Boys)
6. AFTER SUNDOWN (alternate tk of song from ‘Going Hollywood’, w/ Marion Davies)
7. LET ME CALL YOU SWEETHEART (1934, alternate take)
8. RED SAILS IN THE SUNSET (1935, alternate take)
9. IT’S EASY TO REMEMBER (1936, from the film Mississippi, with W. C. Fields, this is the film version, not the Decca record version)
10. THE MOON GOT IN MY EYES (1937, trio demonstration record)
11. ALL YOU WANT TO DO IS DANCE (1937, trio demonstration record)
12. LAUGH AND CALL IT LOVE (Demo Version A)
13. LAUGH AND CALL IT LOVE (Demo Version B)
14. WHERE IS CENTRAL PARK? (1938 demo, written for but not used in Sing You Sinners)
15. BEWARE! I’M BEGINNING TO CARE (1939 demo, written for but not used in East Side of Heaven)
16. EAST SIDE OF HEAVEN (demo for title song from film, quite different from Decca version)
17. SING A SONG OF SUNBEAMS (demo of song used in East Side of Heaven)
18. WHEN THE MOON COMES OVER MADISON SQUARE (1940 demo of song used in Rhythm on the River)
19. DUKE THE SPOOK (1943 private recording for military flyers)
20. SONG OF THE SEVENTH AIRFORCE  (1944 private recording for military flyers)
21. SONG OF THE FIFTH MARINES (1944 private recording for Marines)
22. NIGHT AND DAY (1944 alternate version of the Cole Porter song)
23. THE BLUE ROOM
24. CHEEK TO CHEEK
25. MOUNTAIN GREENERY (23-24-25 are all alternate versions of songs from the 1956 album “Bing Sings While Bregman Swings”)

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!

October 20, 2017

RARE MOD, VOLUME 5 (CD, Acid Jazz Records, UK)

Filed under: Uncategorized — kendrasteinereditions @ 7:29 pm

various artists, RARE MOD, VOLUME 5

A Fifth Volume of 60’s UK Underground Rhythm’n’Blues, Psych & Soul

CD, Acid Jazz Records, UK (released late 2013)

Rare_Mod_5

The RARE MOD series has not gotten the praise it deserves. With a wide casting of the net ranging from circa ’64 Stones/Yardbirds/Pretties style R&B to club-soul a la Zoot Money to freakbeat to Ronnie Jones-style soul vocalizing to Swinging London-style beat and psych, the series has focused on private pressings and acetates for the most part, which gives it a real authenticity. Acid Jazz seems to be able to uncover some amazing finds, and this collection (which I picked up about two years ago, which was two years after its release–it didn’t seem to get much buzz– I have and love the first four volumes) is a very strong one indeed.

Everything that’s great about the mid-60s British music scene is found in concentrated form on this album…and the demo-like quality of much of the material just makes it stronger, purer. For instance, I did not really care for The Montanas released version of Hey Diddle Diddle, but this early demo rocks much better and is not as over-produced. And while some band doing a cover of My Generation in ’65 or ’66 might not really expect to get on the charts with it, it probably went done wonderfully live, and also, we seem to forget that back in those days, it was an achievement to do a successful and hot cover of a then-present day anthem like that.

We’ve also got a promo-only unissued single from the soulful and brash Sharon Tandy (whose album I was proud to review at Ugly Things), obscure bluesy tracks by such UK soul masters as Geno Washington and Jimmy Jones and the Vagabonds, maximum R&B from Flamingo Club regular Tony Colton (who was managed by the Gunnell Brothers–imagine the stories he could tell!), a track from an acetate LP recorded in Bristol by a band called TJ Assembly, who were still sounding like a rehearsal tape of the 1965 Pretty Things but in late 1967, and lots more….20 aggressive R&B-flavored tracks that remind us why the UK was the place to be for Beat music in the 1960’s.

The very randomness of a compilation like this (although, as usual for Acid Jazz, it’s VERY well programmed, like the DJ-set of your dreams) is its strength. Just imagine you run an R&B-themed club on some London back street in 1965, and you are thumbing through the many demo tapes and acetates dropped off by bands wanting to be booked. Imagine what a dream situation that would be—-all PRIME R&B/beat, but all new to your ears, and all from the core of the movement. That’s what you get here. Every band wants to put its own spin on the music, so the variation of influences is fascinating. We should be both happy and amazed that 50 years after, there are still such gems to be uncovered.

While you are at it, why not pick up any of the BEATFREAK compilations you can find, and if you want to dig even deeper, try googling “un-lost tommyknockers” and start downloading what you find onto CDR’s. This is what rock and roll is all about; this is what scattered the seeds that grew into punk. The purity of this music still can raise the hair on the back of your neck today.

A 6th Volume in this series was released in 2015 and was claimed to be the final volume in the series. I just ordered it. If the Star-Club era Beatles were your favorite Fab Four period, if a Mono copy of the Pretty Things “Get The Picture” is your idea of the ultimate in music, if the idea of UK bands doing raw garage-y versions of obscure Tamla b-sides excites you, grab a copy of RARE MOD VOLUME 5  yesterday.

1. The Top Six – I’m A Man
2. The Montanas – Hey Diddle Diddle
3. Debrah Aire – Don’t Be Proud
4. Tommy Bishop – Sugar Man
5. Unknown Mod Band – My Generation
6. Tony Colton – Train Train
7. Geno Washington – Rock My Baby
8. TJ Assembly – Something
9. The Troop – You’ll Call My Name
10. The March Hare – With My Eyes Closed
11. Phaethon’s Brethen – I Put A Spell On You
12. The Dynamite Orchestra – Sh’Mon Part 2
13. The Disturbance – Green Tamborine
14. Jimmy James & The Vagabonds – Private Number
15. Unknown Mod Band – She Is Better
16. All Night Workers – Look At A Granny Run Run
17. The Army – Sugar
18. Easy Virtue – Bye Bye Honey
19. Four Steps Beyond – Keep Your Hands Off My Baby
20. Jeff Curtis And The Flames – Route 66

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