I had trouble rising and shining this morning. NPR was telling me about drone strikes in Iraq and I wasn’t sure of my sense of dread was related to world affairs or the state of the book I’m wrestling with.
But when my wife said, “Hey, Steve Coleman just got a MacArthur!” my eyes popped open.
Yeah…least something’s right.
Having just been named among this year’s recipients of a MacArthur Fellowship—often referred to as a “genius grant”—Coleman, an alto saxophonist, composer and bandleader, earns placement among 21 “exceptionally creative individuals with a track record of achievement and the potential for significant contributions in the future,” according to the MacArthur Foundation press release. He also joins a long line of jazz musicians—from Ornette Coleman to Jason Moran—previously honored. And he gets a stipend of $625,000 with no stipulations or reporting requirements.
I’ve already spilled out much in print and online about Coleman during the past 20 years. I first interviewed him in 1998 through a three-hour conversation that spilled into a 4,000-word piece for Jazziz magazine, of which I was then editor-in-chief. I can’t offer a link to that piece, or to another long Q&A for Jazziz in 2012. But here are links to a Wall Street Journal piece of mine on Coleman from 2010, and another on this blog last year.
I can’t think of a musician I’d more heartily endorse for a MacArthur Fellowship.
Steve Coleman came of age at a moment when the jazz world experienced a disheartening and somewhat disenfranchising schism. The standard bird’s-eye view of New York’s jazz scene in the 1980s and ’90s depicts a mainstream revival of 1960s tradition, a wild and woolly downtown, and nothing in between. Continue Reading