One of the pleasures of the last few years has been that I have met a whole host of jazz people younger than myself — sometimes seriously younger.
The musicians I cherish and celebrate you all know, and I dare not start the list because a) it would be very long, and b) I surely would leave someone out and hurt her / his feelings. I’m talking about people who write about this music.
I’ve recently reminded people of the fine heartfelt work Ricky Riccardi is doing — in print, in person, online, on the media — and he is someone I admire and trust, when he speaks about Louis Armstrong and about jazz in general.
You may not know the other young man I am about to celebrate, because he doesn’t have the ebullient public profile of our Mr. R.
But you should know him and his work. He’s Andrew Jon Sammut, and he thinks deeply but not ponderously about a variety of “early musics,” Vivaldi as well as The Georgians, Locatelli and Larry Binyon. He admires Louis and Bix and the Masters whose names we all know, but he also writes intelligently and with feeling (with research, too) about the people who sometimes get ignored.
His blog is called THE POP OF YESTERCENTURY — Andrew is witty — and the most recent posting is wise and thoughtful, an investigation into that not-well-studied music that draws from ragtime and early ensemble jazz, dubbed later “rag-a-jazz.” He’s done some serious homework here — in a modern vein — talking with jazz scholar-players Dan Levinson, Vince Giordano, Chris Tyle, Jon-Erik Kellso, David Sager, Hal Smith, and others.
I hope you can read Andrew’s piece: IN SEARCH OF RAG-A-JAZZ. He asks good questions, and invites others to add what they know: the hallmarks of an honest and humane scholar. I read the piece with pleasure when it came out, and I am proud that he and I can discuss shared passions and questions. (“What would Don Murray have been like at a dinner party?” “Is this an important question?” and more.)
May your happiness increase!