Why did you leave Manhattan after that?
I decided, okay, it’s time to move to Brooklyn. Now, a critical mass of artists and people interested in this work are in Brooklyn. When I walk into that space, it’s like I’m walking into this space. It was: “This is an incredible space. This is great. If we can afford it and make it work, that would be great.”
You remain a performing artist and composer. How much of your own work can you do while operating the roulette wheel?
Lot, across Green Street. But when we moved into our new space in Brooklyn, it really took over. I don’t do my own concerts anymore; I just don’t feel like it’s the right place for what I want to do.
I did some stuff with other people and of course played the riffs that Zorn had put together. The great thing about improv is that you work with what you already have, so jumping back into it isn’t always easy. But I wasn’t focused on the project and now I’m rethinking what I might want to do, creatively, and whether to start from scratch or at what point.
So is it time to leave?
This is not something I need to do, stop. I feel like that’s what’s best for the organization and for everyone else. what is. I could see the value in it and had to present it. But I don’t always feel that connected to the work or the people, and it’s important for an art director to connect with people.
What makes Matt Mehlan the right person to take over?
I know he is a man who truly understands. He was a composer and musician in his own right, and he understood that you could give people what they needed. You don’t need to hold their hand; you just make sure they have what they need to accomplish the work they want to do.
