Should I be worried that, at 3 months, Seth hasn't started on Infinite Jest?

I would just try to catch up by starting in on Ulysses, Jim.

You've probably heard his other song in closer (Can't take my eyes off you...can't take my eeeeeyyyyyyeeees off you).

That's Damien Rice, though. Or are they secretly the same person?

Hey, I like Damien Rice.

Hey, Jim! Li'l Sphere is 6 months old today and at the point of constant babbling. I figure that for all my malaprops, fumbles, and dumb colloquial Southernisms, he needs to hear the English language used well somewhere, and being who I am, I reach for Melville for that. Reading Moby-Dick aloud is pretty awesome, actually. It's like doing a long sabbatical in a beloved city you've visited numerous times.

So, how's Seth in general? Are y'all finally getting some sleep?

I always forget how much I learn lurking in this thread, until I have a question and come here, and then scan. Good stuff.

This time I've wandered in looking for dark ambient recs. Things like Lustmord, Robert Rich, dark Steve Roach. Help? Also, any idea where I could order such music?

TIA.

Raq -

You can order those artists from Insound: [link]

They can be a little slow though in delivering and have no handy "track your order" capabilities like Amazon.

eta: Oh, sorry I have no recs - I thought you were just looking for where to order the artists you mentioned.

ION, I am finishing up a Best of Bright Eyes mix if anyone is interested. It draws from over 100 songs in their catalog, and I think it's darn good. Anyone who wants a copy can e me at my profile address.

John Doe was on Soundcheck today. Interview & performance.

A little late, but here's Gary Giddins on Cecil Taylor. Fifty years into his career he's still controversial. The difference between Cecil and Albert Ayler is that Taylor is an absolute monster. Even Ayler's biggest fans wouldn't argue his case on the merit of his chops (and I'm certainly in the chops-are-just-a-means-to-an-end camp), whereas even Cecil's biggest detractors would find it hard to gainsay his technical mastery. If I remember correctly A.B. Spellman, in Four Lives in the Bebop Business, claimed that Cecil's virtuosity outstripped even Art Tatum (who is often used as the jazz benchmark for virtuosity regardless of instrument.) That said, it's likely that more people heard of Cecil Taylor from Ken Burns' documentary than from the rest of career. Which would be fine except that he's the one figure in the documentary who is actively disparaged: "self-indulgent bullshit," Branford Marsalis responds to Taylor's contention that the audience needs to prepare for his music. (See the Giddins piece for more on this.) I'll admit I don't quite get Cecil, but I don't think he's a put-on artist. I have musician friends who can listen to large-scale pieces (Cecil usually plays for an hour or more) and hear the structure of them, and they get a lot out of it. The fact that I don't hear it (I'm sure with some training, formal or self-, I could learn how to do it, but I don't have that training) doesn't mean it isn't there. And it's not essential to listening to his music. Some people just connect to it on a very basic level. I don't, and I don't understand its more esoteric elements, but I think Cecil is sincere and undeniably talented and we're lucky to have him. I love this bit from the Giddins interview: "Tommy Flanagan went to hear him when Cecil was playing duets with Elvin Jones at the Blue Note a few years ago. He stayed through two sets and was set to open at the Vanguard a week or so later. When we left I said, jokingly of course, 'So will you be playing any Cecil Taylor tunes?' He said, 'No, but you can bet I'll be thinking of them.'" May not be my cup of tea, but we're better off having it than not having it.

I think he played that "You're Beautiful" song, but I only stuck around for about 3 songs and wasn't sure. I might pick up the album. He was rather cute and was very good at making eye contact with different sections of the audience.

I like Damien Rice as well, but I find I can't listen to the whole album at once. However, he works perfectly in shuffle mode on the iPod, which is a whole new realm for me: albums I enjoy in full, albums I enjoy on Shuffle.

"self-indulgent bullshit," Branford Marsalis responds to Taylor's contention that the audience needs to prepare for his music.

I wonder how many soprano saxes those Marsalis boys have shoved up their asses over the years to get to be so freakin' self-righteous.

Not that I think it's automatically terrible to disparage Taylor, but I do think the Marsalises have made a career out of disparaging free and electric jazz, while sticking to obnoxiously safe music over the years.

Anyway, that said, a friend on another board mentioned that he was reading an extremely rare Beefheart autobiography the other day and the good Captain also disparaged Taylor as "merely measuring the piano." Actually, now that I think about it, the difference between Beefheart's and Marsalis's putdowns say quite a bit about the relative worth of each man.

Thanks for the Taylor posts. I saw a profile about him the other day that just seemed like a standard issue jazz hagiography. But I couldn't stand the excerpts they played. It's satisfying to hear that his sound is so controversial, and a bit disappointing that it was hardly mentioned.

Can't remember where I saw it; CNN or something.