Interview with Brandon Ross, curating The Stone, July 2009
by Adam Schatz
Brandon Ross
S&R: Could you tell us a bit about your musical upbringing, and what brought you to New York City?
BR: My Father was a Jazz trombonist. 'Candy' Ross. Worked with Dizzy Gillespie's big band/s; Mercer Ellington; Sy Oliver; Benny Golson; Cliff Smalls. He died in October 1996. Music was ALWAYS in the house. When I was very young, pre-speech, my father claimed that I would point at an LP he had of Stravinsky's "Petrouska", insisting that he play it for me. Later, my older brother, Kevin Ross (bassist), learned to play "Satin Doll" on a toy xylophone we had in the house, so I learned it too - when my big brother wasn't around... LOL!
What brought me to NYC was the MUSIC scene here and that it was THE place to be for the music I wanted to be a part of. I arrived and started working with Leroy Jenkins, and then Oliver Lake, both of whom were heroes of mine. It was like a dream coming true.
S&R: The music you have posted online shares a similar atmosphere quality to it, that goes across genre and approach, connecting your efforts in a personal way. Did you try to keep a similar unification in your approach to booking the Stone this month?
BR: Sort of. My intention was modified by who was available - July is a big month for touring, so in some cases, I had to rethink some of my plans. I wanted to bring in some people who had NOT played the Stone before, or had not done so as "leaders". And to offer a palate that would reflect concerns related to available venues in NYC. VISIBILITY, and range.
S&R: What truly turns you on musically?
BR: ANYTHING FRESH, that offers a PERSONAL POINT OF VIEW. Anything that feels "lived - in".
S&R: Is this your first time in the curatorial chair?
BR: At The STONE, but no, I've done one other series in Brooklyn at ROSE LIVE MUSIC in 2007. A solo concert seriescalled "Out On A Limb", which paired musicians in a 30 minutes set of solo performance and a 3rd set of an improvised duet, with people who had never played together in that situation before.
S&R: How has the music you've made changed and grown over time?
BR: It has gotten more essential. More direct, and less self-conscious. It is what it has always been and perhaps in a more gestural state of expression. The intention of MEANING, which cannot be "intended", is a quality that seems closer at hand these days.
