
Colin Fleming
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News
New feature in JazzTimes
05.12.2021
On Eric Dolphy's solo bass clarinet version of Billie Holiday's "God Bless the Child." "His attack is all swoops, dives, and bench-pressing of geological plates, as if coming from inside the earth and then pushing against a canopy of stars, before raining back down in droplets of indigo and liquefied rubber. You’re not going to find a more demanding piece, but he underpins this dialogic wonder, as Holiday did, with the blues. It is a blues both ancient and modern, incorporating ageless rhythms of Africa with the Mondrian-like coloristic staccato of the city. At some intervals you might think of it as sci-fi, and then—two clicks of Dolphy’s tongue later—as a hymn that has enfolded the earth since long before we got here."
New personal essay in the spring-summer 2021 issue of Salmagundi
05.07.2021
A piece called "You're Up, You're Down, You're Up," about a man trying to keep himself alive and going by running up and down the stairs of the Bunker Hill Monument. "It is interesting the diametrically opposed way two people can look at the same thing and both retain a degree of correctness. As I climb now I think of how the Monument might be viewed as a death box. Not that anyone has died in it during my climbing career, but people do pass out, ambulances are summoned, and of course nearly everyone stops to rest two, three, four times before reaching the top a single time, bending over and sucking wind, looking at the person they are with as though they want to crack a joke, then focusing back on the task of catching their breath."
Downtown with Rich Kimball
05.04.2021
Downtown with Rich Kimball
04.27.2021
Sure do talk about a lot
04.06.2021
Chicago Tribune op-ed
04.02.2021
"We’re much like Chekhov’s traveler now. We confer value on what we don’t have, or where we’re not yet at. We know others are present in this 'over there,' and we worry that we are innately lacking. The procession, the parade, matter much to us because they’re all but officially earmarked as the measuring sticks of consequence."
On the genius of Jimmy Blanton
03.18.2021
A piece for The Smart Set. "Blanton was the man who freed the Ellington sound, who made all future sounds, it seemed, attainable. I’ll venture that no one in jazz history has played an instrument better than Blanton played the bass, but I almost hesitate to term what he did bass playing."
Bass piece in JazzTimes
03.17.2021
Walter Page, sonic liberator. "We’re talking music as elemental as the weather, a sea throwing itself against shore-rock again and again, the incessant “I’m not going anywhere” advance, and yet so orderly, controlled, both repeatable and always new. A daring empiricism, an improvised science of rhythm-making."
St. Patrick's Day op-ed for the New York Daily News
03.17.2021
Don't Dorian Gray yourself. "But she didn’t know. She’ll probably never know. The point is the cliché. And it is the clichéd life that is a kind of death. Or, if you wish to be less macabre, we can just call it hardly a life at all. Not the life of an individual."
More radio
03.02.2021
Ambrose Bierce essay in The Smart Set
02.18.2021
"He wrote a huge amount of short stories — 250 — and 850 fables in a period when writers of imagination actually wrote; as in, wrote often and wrote well, rather than what they do now, which is talk about writing without actually creating anything and bragging about how they are off for another writer’s colony vacation funded by someone else."
Op-ed in USA Today
02.08.2021
Stop telling everyone--and yourself--that you're old. "The dad bod is not some necessity of being 50-years-old, or whatever age you are. You’re free to dispense with it, transform it. Those views you’ve held for decades? They can evolve in six months, and then you have fresher, better views to work with, perhaps to transform again, as you journey forward. What often stops us is complacency enabled by a culture of complacency."