Born in 1972, he studied piano and composition in Cologne, London and New York with John Taylor, Joachim Ullrich, Bill Dobbins, Django Bates, Don Friedman and Jim McNeely.
The first of Ross's six albums was released in 1998 under his own name. Ross's recordings look closely at both the multifaceted jazz tradition and his extraordinary handling of contemporary material. In all formations, from trio to quintet, from string orchestra to brass ensemble, Ross succeeds in reconciling two seemingly different musical forms: improvised and composed.
While many of his European colleagues consider it a virtue to distance themselves from the mainstream, another camp makes an effort to continue the American jazz tradition in Europe as authentically as possible. Florian Ross's music is a refreshing break from this often embarrassing programmatic context. Ross not only ignores the demarcation line but translates traditional aspects into a language of the present. His lack of interest in the idea of higher, further, faster corresponds to his fondness for deeper sound regions and warmer timbres, as sounds oscillate between blue, orange and terracotta.
This foundation invites inspiration: the architecture is occasionally daring but never cool. Intellect and feeling do not exclude each other, the head listens to the stomach and vice versa. The music radiates balance, something that is often propagated but seldom achieved. The stark and songful does not trigger disquietude within Ross; on no account edgy actionism. He knows that it's not what you say but how you say it, and that less is (sometimes) more.