Why did you leave Manhattan after that?
I decided, OK, it's time to move to Brooklyn. A critical number of artists and people interested in this work are currently in Brooklyn. And when I entered that space, it was the same as when I entered this space. It's like, “This is a great space. This is great. It would be great if we could afford this and make it happen.”
You are still a performing artist and composer. How much of your work were you able to do while operating the roulette wheel?
There are many through Green Street. But when we moved to our new space in Brooklyn, that really took over. I stopped giving concerts myself. However, I felt that the venue was not appropriate for what I wanted to do.
We did some stuff with other people and of course we played some improvised songs that Zorn put together. The good thing about improvisation is that you can work with what you have, so it's not that big of a leap to get back to it right away. But I wasn't focused on the project. Now I'm reconsidering what I want to do creatively, whether I want to start over and at what point.
So was it time to leave?
Not that I needed to stop. I felt it was best for the organization and for someone else to come on board. We are becoming less and less connected and understanding with many young artists, what they need, what they want to do, and how we understand their work. teeth. I know its value and I need to present it. But I don't always feel that connected to the work or the people. It is important that artistic directors connect with people.
Why is Matt Mehran the right person to succeed you?
I found out that he is a really understanding person. He is a composer and musician himself and understands giving people what they need. He doesn't need to hold their hand. Just make sure they have what they need to accomplish the job they want to do.