We’ve been over at Jack Straw doing the base recordings for Woodland— a project that becomes our eleventh book, out in March of 2019.
I’d like to tell you most about the incredible Seattle pianist Aaron Otheim, because the writer is the publisher here at Entre Ríos Books, me (and so that just feels a bit awkward). For folks on the experimental jazz side of music in Seattle, you might know Aaron from his years organizing the Cafe Racer Sessions (RIP, CAFE RACER). He’s phenominal, has interest in all kinds of genre-bending music, and so we highly recommend you take a listen to his work on SoundCloud.
Last summer, a batch of quite broken writing started happening for me during the weeks of hazy dreadful smoke-filled days we had due to fires in British Columbia and then Oregon. As it became very clear that I was writing about fire, I thought it might be interesting to base the center section of the book around the music of Edward McDowell (1860-1908), and in particular, “Woodland Sketches”— popular, beautiful parlor music. It’s racist, it’s sexist, it’s completely of it’s era of industrialization and the beginnings of mass-markets. I asked Aaron to think about updating it for the era of climate change and endless fires. Riffing on an idea of mine, he took the score and burnt it, altered it with the goal of making it “sound like ash”.
So here’s a short video showing some of the process as the end music won’t be like this— but the process to me is so intriguing. Jack Straw has a great piano and set up the mics around the room to allow Aaron great control in mixing the soundfield. With plenty of takes, improvisations, and experiments with the instrument, he’ll take these recordings to add electronic sounds and alterations.
Like all our books, this one comes with an audio download— so when you buy the book, you’ll have the password to download his new music. That download will also come with my reading of the book— and I am planning on some version that will also include some experiments in sound design.
Here’s an early experiment on my side with sound. I can’t say this is the final— it’s a process!
Our @shinyupai project is by far the most complicated thing we've tried and it gets closer to being on press. We want you to see the title poem, Ensō, recently published Cascadia Magazine. ... See MoreSee Less
Sometimes my foresight astounds me— like taping this 20th Anniversary card from @openpoetrybooks into my go-to cake cookbook. Making buttermilk cake and now delighted by both Emily D. and thinking about some of my favorite people. pic.twitter.com/ZhBn…
We are an independent press in Seattle, Washington. We publish collaborations between poets and artists of all types. We also have an interest in publishing contemporary Argentinian poetry in translation and supporting writers with an interest in Argentinian culture and Jewish history in Latin America. Gay-owned and queerly run.
Sometimes my foresight astounds me— like taping this 20th Anniversary card from @openpoetrybooks into my go-to cake cookbook. Making buttermilk cake and now delighted by both Emily D. and thinking about some of my favorite people. pic.twitter.com/ZhBn0iL9pc
Here's another piece of the "Woodland"performance— with thanks to several Seattle poets reading text. This lead into "The Car Burnt Out" on the horror of fleeing wildfire but being caught in the 2017 Portugal fires. bit.ly/2ZBn1fRpic.twitter.com/LCtzjqaKwi
Our website header has changed— NOW ON STAGE!!! Get your tickets to our first play, "Vicinity/Memoryall" by Christine Deavel & J.W. Marshall at Brown Paper tickets. Tickets are selling briskly for a small space so don't delay. bit.ly/2MXthx8pic.twitter.com/kY5EclC4jb
Yep, can't make this either tomorrow night, but it is a great line-up, so poets and those that love them you have two great options on Thursday in Seattle — Margin Shift in Belltown or Hugo House with Thomas Walton & pals. twitter.com/FomonJosh/stat…