by Patrick Jarenwattananon

Where we in New York are getting ready for a Monk-off — appropriately, less than a week after the James P. Johnson-off.

—Jazz Now: Earlier this week, this satiric article caused some consternation about the jazz Twitterverse. (Did I really just say "jazz Twitterverse"? Excuse me while I stab myself in the ear.) It was the opinion of Aaron Johnson, a student at Manhattan School of Music, that it was a travesty that veterans weren't getting gigs, because:

Instead, young "lions" are sought out by the media to "push the barriers". It's funny, to me, because very few of these young lions will ever find their own voice. Even if they do it will either be excessively modern without any validation or sense of lineage or it will be a sad, lukewarm pastiche of the music of years past (lacking the true essence and spirit).

Johnson went on to list a tongue-in-cheek send-up of trends in the modern New York jazz scene. Disregarding the fact that many of Johnson's observations would have also applied to Dizzy Gillespie in 1946, some of them were dead-on. And I agree with his general point that among students, it's lamentable to see enthusiasm for the Chris Potters and Mark Turners of the world to the nearly complete ignorance of jazz history. Peter Hum was concerned about the same thing. (UPDATE: David Ryshpan weighs in too.)

Jason Parker, ever the peacemaker, writes that this is all a flare-up of the Jazz Wars. But as proprietor of a series designed to feature interesting trends in current jazz, let me finesse that further. Nobody ever said Jazz Now was intended to exclude old music. It was, however, inspired in part by the general sentiment that even big-name living jazz artists don't get the shine they deserve. Mr. Johnson may not observe that, as he is entrenched within the community of musicians. But on the whole, ask any layperson to name a jazz musician. Why is the answer usually someone who's dead?

There's absolutely not a single thing wrong with liking, studying and being inspired by the music of the past. Much of the best jazz of today comes only after intense study of the so-called "tradition." It is a big problem, however, that the average person assumes that the most rudimentary jazz appreciation demands deep-seated historical knowledge. And it is the express intent of Jazz Now to disprove that by featuring good musicians who have found their own voices — however they did so.

—All The Latest ECMs Reviewed: Curious to see what Manfred Eicher is up to over in Munich? U.K. blog thejazzbreakfast has listened to all the new releases from ECM Records.

—Just A Guy Who Knows: Is the name of a new Sonny Simmons documentary film, spotted by David Adler.

—Photos: The Spirit Of Jazz: A new photo exhibition is opening in London to mark 50 years of Ronnie Scott's Jazz Club. Held at the Getty Images Gallery, The Spirit Of Jazz was curated by Jamie Cullum. The BBC has some of the shots — dig through the exhibition Web site for more.