very lowest of jobs. e th n i H n ce g e . r l e i A k n e in d th A I a w m t. a e Ws ri n c e ' a t d a w o t n e o 't u d r k o is n n t o 't o w v k e t n h r o e t w h d e i a f r f e n e . y r I was taken into people's homes, and waited in l ines too, although we didn't have to, we were always skirted to the front of all the lines, because we were there as guests of the Ministry of Culture. We were admitted into Russia cause we went through the Canadb ia en Embassy. Paul Horn and his son are Canadian landed immigrants. And the sound people were from Canada.John c a a n n d s. I wTh e i r s e w te a c s hn t i h c r a o l u ly gh the the onC lya n Aa m de ia rn i g m o e v I n e t t a r . n lk m ed en w t, ith no s t o t m h e e p A e m o e p r le ica fr n om go R v a e d rn io s M io o n s -co ww h -o I w w e o re n't Co te m ll m y u o n u ist w s, hi b c u h t w di h v o i were some beautiful people I met while I was in Russia. I told my friends one e lin v g en u in s g t : he I d w o h n o 't le th t in ru k th o . ur I s le a a id d , e " rs Ho a w re c t a e n l I hate you? How can I hate you? How can you hate me? I just shared music with you, you said you loved it, and here we are talking and eating food together." I said, "How can we shoot each other? How could we be enemies? We aren't enemies. It's the leaders, it's their flict, not ours." And it was the music, c o th n e art that opened up the door of relations between us. If it hadn't been for the music I never would have met these t p u e r o a p l e le x . c T ha h n e g s e e b le e a twde ee rs n h th a e ve tw s o to c p o p u e n d tri c e u s l . The Russian people love their country. They don't like the rules and regulations, the oppression; no one likes that. But they have a great respect for tradition, for history. They're thousands of years old.This is a nation with a lot of history; they just don't want to start a new life somewhere else. If given a choice, at least what I was told, they'd stay.I 'm sure there's exceptions. In a way there's a lot to be said for their lifestyle.There's a simpl icity there, a forced simplicity that you have to adhere to. But it opens up creativity within a person, because you aren't so "Your Headquarters For Cycling Gear!" busy with material things. The Soviet musicians I came in contact with were paid by the state, about 200 rubles a month. It's like maybe $300, tops, of our money a month. CSQ: For working how often? DF: A minimum of eight concerts a month, and a maximum of 38 concerts a m les o s n , th. plu T s he a y g m e o t n p t a h id p t a h id e s v a a m ca e ti r o e n g . ar S d o they're always paid, all year long.They He said, "I suspect that in America this music is taken for granted. It is takenfor granted over here. We're very spoiled. have a job that's supported by the state. cia T n h s er i e n 's th s e om S e ov w ie o t nd U e n rf io u n l , ja w zz ond m e u rf s u il players. And they're well aware of the music of the West. I had several people that came up with my albums for me to sign. They knew all about my music, about my life, through articles in the magazines. CSQ: ords th H a a t v w e e a c n a y n o h f e th a e r m in e th v e er U m .S a . d ? e recDF: try [k O n h ow ye o a f h, t j h a e z m z ] h . is T t h o e ria n n o s rm in a th l i p s e c r o s u o n n , no; unless you really follow jazz very closely, you wouldn't know of any Soviet records. But there are magazines-the Jazz Forum, which has writers from the Soviet Union talk about what's going on in the Soviet Union jazz-wise. And there are some jazz groups that are permitted to travel abroad and play.You're allowed to travel abroad if you have a family. But ·your family can't go with you·. They want to make sure you come home again. CSQ: How long was the tour? DF: cow A fo b r ou e t ig 3 h ½ t c w o e n e c k e s rt . s W , t e he w n en L t e t n o in Mgr o a s d for six. We took a plane to Vilnius, Lithuania, two concerts; then from Vilnius c to er K ts a , u 1 n 8 us co [ n L c it e h r u t a s n in ia] al f l o . r W twe o fle m w o b re ac c k on to Moscow and I was there for about four or five days before I left for home. I spent that time just hanging out with some f v in r a i g e l, n w g d i o s th in o g t f h m e in m i t n o e . , p T e a ry o n i d p n l g e g ' o t s o in h g g o e m t t o e to a s f k a i n l n m o d w f t e a t s h lk t e i people a little bit, seeing a different view of the Soviet Union from other than a musician's. CSQ: Yes, that gets rather limited. DF: Right.I didn't want to meet any more jazz critics, or musicians; Nanted to get out and meet some other people, which I did.And that was nice. CSQ: Will there be a recordof this tour? DF: We had a person along who had a digital machine and taped everything, every concert. [It was] the same person that recorded Paul Horn and myself on Heart to Heart. And there's a state record company in the Soviet Union called Melodia that is putting out a double album of our tour there. That wi l l be in Russian, . and we'll probably bet some copies.But commercially it won't be over here. Melodia handles every kind of music. Western, classical - no matter what it is, it's on Melodia Records, the state record company. For the Western world.Paul will have c c s e o o r r m t d s e s t . a h r A i e n ll g r me o c y n o s r h d o i e l s o d l s a e s b o g e m l I . e m G n i o t g s l h d o t f F p l t u u h t t e e o c u R o t e n a solo thing of what I did there. 'Cause there was some good music there-after playing 1 8 concerts you get very strong. I was able to do things very difficult for me when I just play 2-3 times a week. t s A h p n in o d g nd h y a i o n v u g in d v g o e - b ry e i t t e w 's n e t n e h ic n u e s 2 i t a 5 o s 0 h t 0 ic a a v a l e n ly d so t 4 o m 0 e e 0 v t 0 h e i r r n e y g like that on records. CSQ: time, w Whe o t u h l e d r y o o r u no lik t e it t w o a g s o to b p a l c a k y s m o u m s e ic there: DF: Definitely. It's hard for me to travel when I'm not playing music, though. I don't have any reason tQ travel unless I'm playing music. I'd love to go back and p ca la u y s . e It I 'd wo b u e ld h n a 't rd wa a n s t t a o n g A o m ba e c ri k ca a n n , d b d e o concerts on any lesser degree than I did on this past trip. And that was through Gm o ot s e s s C a o ll nc th e e ·rt, c t o h n e c s e t r a ts te .B a u g t en I c w y o t u h l a d t l p o r v o e to go back, yeah. Love to. Talking withJohn Stowell Clinton St. Quarterly: When you were called to do this tour, how didyou feel about it? John Stowel l : I went with the idea of just enjoying what was there, but really no preconceptions about the reception, size o th f in c g r . ow I j d u , st ac tr c y o n m o m t o to da m tio a n k s e , a f n o y od k , in a d ny o f rules or have too many preconceptions before I go anywhere-especially a place that's so different from anything that I've known. CSQ: day S D ovi id e y t o l u ife kn p o r w io m r u to ch le a a b v o in u g t pr fo e r se t n h t e U.S.S.R.? JS: None to speak of. One of the things that I thought a little bit about was that materially they don't have what we have. The material goods on the streets are probably 20 or 30 years behind. For whatever reason, the state either puts the money or the emphasis on other things. 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