MICHAEL STEINMAN (email@example.com) first heard Louis Armstrong on records in the 1950s, a transcendent experience. (He also saw Louis and the All-Stars in 1967.) An unashamed jazz devotee, he writes for HOT HOUSE, Cadence and The New York Jazz Record. He has been published in CODA and other jazz periodicals, and was the New York correspondent for The Mississippi Rag.
Michael is called upon frequently to write liner notes, which have been an integral part of many compact discs on labels including Arbors, Nagel-Heyer, Stomp Off, NifNuf, Jazzology, Audiophile, LaLa, Azica, Little Simmy, Amber Lake, and GelberMusic. Since 1982, Michael has been Professor of English at Nassau Community College in Garden City, New York.
His heroes include Bobby Hackett, Vic Dickenson, Ruby Braff, Eddie Condon, Frank Chace, Jo Jones, Pee Wee Russell, Ben Webster, Frankie Newton, Hot Lips Page, Lester Young, Dave Tough, and Big Sid Catlett.
But he admires many living musicians (jamming for the tip jar and for dinner) just as much: Jon-Erik Kellso, Mark Shane, Kevin Dorn, Bent Persson, Rebecca Kilgore, Marty Grosz, Dan Barrett, John Gill, Dawn Lambeth, Marc Caparone, Duke Heitger, Andy Schumm, Lena Bloch, Matt Wilson, Kirk Knuffke, Ted Brown, Bob Arthurs, Gordon Au, Connie Jones, Tim Laughlin, Craig Ventresco, Melissa Collard, Barbara Rosene, Ehud Asherie, Rossano Sportiello, Dan Levinson, Jeff Hamilton, Bryan Shaw, Dan Block, Harry Allen, Scott Robinson, James Dapogny, Michael Kanan, Roberta Piket, Billy Mintz, Brad Linde, Jeff Barnhart, Andrew Swann, Bob Barnard, Petra van Nuis, Andy Brown . . . a long list.
He is immensely proud of this blog and the community of readers it has attracted from Long Island to Istanbul, and of its recent nomination as one of the Best Jazz Blogs of 2009 by the Jazz Journalists Association. Michael has come to think of himself as a jazz archivist, a self-definition that began when he first smuggled a cassette recorder into a jazz club almost forty years ago. His videos — more than three thousand — seen here and on YouTube — have made both musicians and jazz fans happy for six years.
He only refers to himself in the third person in situations such as this blogpost. Meet him at a festival, club, or concert, he reverts to common practice — much less unsettling that way.