25 July 2008
Mark Twain
United States of America

Dear Mark,

Well, we did it. It took months of preparation and mutual encouragement, but we finally did it. We tried the shwarma place in our building.

Now, one would think this not a great adventure, but since this is Russia, many things of a culinary nature can be difficult for the faint of heart (or stomach).

This place, a little hole in the wall (literally…you have to see it!) is the only place in our neighborhood open 24 hours. I have walked by it many times, enticed by the aroma of searing flesh…I had hopes, not great ones, but hopes of trying something that may resemble the amazing shwarmas in NYC (most especially the street vendors on 53rd near MoMA…wow!!!!) and Boston… I knew that I would be hurt…knew that my dreams of gastronomic ecstasy would be cast upon the rocks like someone’s unwanted memories…treated as trash, thrown into the landfill of misguided optimism…

…it wasn’t so bad…a little bland (‘Russian Style’), but not horrible. Other than the fact that it took half the meal to recognize the kind of meat (“Lamb?…no…kind of tastes like pork, but that wouldn’t be right…no, wait, a bone, it’s CHICKEN!”), I rather enjoyed it, actually…

To be honest, I’m actually relieved that it wasn’t THAT good; I would have become depressed by the thought of avoiding it for 11 months…

This, actually, is the only shwarma place I have seen. There have been many-a shashleek place (shish-ka-bob, or as my people say, souvlaki), which is more traditional food from the Caucuses and Central Asia, but no shwarma, which I associate (maybe incorrectly, if so, please correct me here) with Lebanon and going south and eastwards. Interestingly, all of these: shwarma, shish-ka-bob, and shashleek, all begin with that crazy shhh letter; the one that looks like a ‘w’ with its tongue sticking out. I’m sure that there must be a related root there somewhere (it must refer to one of the two things that men love when they are presented together: meat and stick…very tribal), but I’m not smart enough, or duly inspired, to look it up.

But enough on food. Let’s talk about the Hermitage!

Finally, FINALLY, I had a good Hermitage experience. I avoided tremendous (OK, not SO tremendous…it‘s actually a rather ghastly room) temptation to linger in the 1812 Room, and headed straight for the French! Ah, the French…I love the French: great wine, art, food, sense of culture…they know how to live. The Hermitage has a wonderful collection of Matisse’s work, mostly due to the fact that his most important champion (and funder) was Russian. Four full rooms of Matisse…I was in heaven! There was also a great collection of Impressionists, Post-Impressionists, and a good number of Picassos…

…you know, this has to make one ask some questions. If you think about it, every major museum-as well as a number of smaller ones, and not to mention private collections-has a large number of painting by these groups. I mean, you go to museums all over the world to see their collections or Monet’s and Van Gogh’s and Gauguin’s and Picasso’s…you have to ask yourself: How many paintings did these guys do? How many a year were they cranking out? This becomes even more interesting when you realize that some were created over a period of years-granted, many worked on numerous canvases or projects at once, but man…my guess is that if you took the number of known Picasso’s or Monet’s and divide that into the number of creative years during their lives, the result would just have to be astounding.

I know so many artists (including composers and film makers, who are just as bad, if not worse, offenders) who spend all of their time talking about creating art without ever actually producing it. “Yes”, they say, “I am planning on creating an opera/symphony/new play/series of sculptures/documentary”…you ask if they have started…the answer? “no, still in the planning stages”…these ‘planning stages’ seem to go on indefinitely, usually the entire span of the ‘artists’ life. I have a colleague (who shall remain nameless) who claims his full-time job is as a composer…great…this person produces a 3 minute piece every 2 or 3 years…even gets grants to do it…says he stays home and creates all day, he doesn‘t have time to work a real job…uh-huh, really?

Pathetic…

There are a lot of ‘artists’ in the world, in every country, who act like this. I don’t get it…people tell me that they’re jazz players, I ask when the last time was that they released a CD or played a real jazz show at a club…the answers would amaze you, mostly “I have no time” or “it doesn’t pay enough, so I don’t do it” or “I’ve got too many wedding/circus/Broadway gigs to create anything”…then there are the film makers who tell me their grand ideas and conceptions, but have no work to show for it. “I’m just not inspired”, they say, “I haven’t done anything since college”…

Pathetic…

Worse is the whole concept of having to ‘suffer’ for one’s art. Man, anytime someone tells me this, I just want to backhand them and tell tem to get a job…my other favorite is “I can’t play that kind of music” or “I can’t make that kind of painting” because it’s ‘bad for my creativity and technique…”, granted, I’m a working musician and composer-I enjoy playing and writing; there are things that I prefer to do, but other ‘gigs’ give me the opportunity (and cash flow) to do projects that I want…some call me a prostitute…fine, but I’m producing good work. Picasso was one too, so was Stravinsky, so was Mozart…they understood the profession; they produced great art while also taking commissions for work, to pay rent.

I love the kids just out of college/conservatory/art school (and some ‘kids’ who are in their 40s, as well…) who are trying to be Bohemian, even though their trust fund or their parents or their Harvard or Yale connections are actually supporting them…they say they need to understand ‘suffering’ to create…

…get a damn life…start by getting a job and ‘cutting the cord’…

Get rid of your renovated loft apartment, your designer ‘trash’ clothes, your espresso machines, your pathetic ‘the world owes me because I’m great’ attitude and become a contributor to society.

Pathetic…

Maybe I’m bitter because I always had to work…my cord was cut for me early on…but, to be honest, I see how these people have turned out, the kind of people who give the rest of us producing artists a bad name, and I’m glad that I did have to do it myself…

…and by the way, I never ‘suffered’ for a my art…I just found ways of getting it done.

You want to understand suffering, why don’t you move to Russia, or any of the CIS countries for that matter, for a while. Talk to the pensioners and the people on the streets…see what they have, see what their everyday lives are like…

People cry here…this is something that continues to impact me-how couldn‘t it? I don’t go a day without seeing people on the street in tears. I can’t say I know why they are crying, but I may be able to guess…life is hard here, people don’t have anything, many have no hope of anything better than what they have. There is heavy energy on this country…it weighs down on people, pushes them down, beats them…all you can do sometimes to release the pressure is cry…

So, when you young Bohemians are complaining that there aren’t enough cafes and boutiques in your trendy, urban neighborhoods and that that your biggest concern (and sign of Armageddon) is that a corporation has bought your favorite microbrewery, take a little advice from me: take mommy and daddy’s cash, hop a flight to the CIS, and live here for a while-become part of the community, don’t wall yourself in by going to the trendy tourist clubs and drawing on the trust fund-really live here. Find a job…let’s see how you create…

Until next time,

Demetrius

15 July 2008
Mark Twain
United States of America

Dear Mark,

Well, I survived being ‘Smooth-Jazzed’ (actually, that does sound a tad profane, doesn’t it?) and am recovering both my spirit and sense of decency. I’ll tell you, I was actually amazed playing this well-known club last week for a number of reasons. The Russian audiences are very sedate, almost dead. I have seen this at numerous venues now. There is no life in them; they just sit there…I don’t think it was me and the Smooth Jazz show (which would put anybody into a catatonic state) because I’ve seen it in every show. Every type of music: classical, jazz, pop…just sitting there…When I’m in the audience, I like to enjoy shows (maybe too much as Margaret, bless her, keeps reminding me). A great show is like a Revival meeting: I nod along, clap, and even holler if it’s an appropriate venue (and even sometimes when it’s not…but should be). Granted, people look at me funny, but to Hell with them if they can’t learn to loosen a few buttons and get down to the tunes…

The Russians, like, don’t even move. I can’t even tell if they are breathing…

This is disturbing…it’s like that scene from ‘The Blues Brothers’ when they play a great opening number and no one claps, the audience just sits there. THIS is a Russian audience. To give them credit, they do politely clap after tunes, and given most Russian’s sense of groove it is much better if they DON’T clap along (believe me…wow), but a little sign of life would be nice.

The performers don’t seem to mind. Most have no sense of stage presence, so many play almost like they are working in a cubicle. They play a tune, play the same structure, the same solos, and then…it’s “very nice; next song”…I like audiences. I REALLY like audiences. I want my audiences to KNOW that I like them and that I appreciate them. I even like to talk to people from stage. It seems like a common thing, right? Performers, especially in intimate settings, talk to people. I always have; it’s an important connection. Here (and by the way, also in many other Eastern European countries, as I have encountered) there is this odd relationship where the performer is on stage doing his or her thing and the audience sits quietly and watches. There is no interaction. I actually have been chastised for talking to the audience-I was told that it belittles the music and is more for clowns and not for serious art…

…some of these people are so full of themselves…please…you know, it’s all a part of this ‘great person’ fatalism that this culture has. A great person (performer, artist, thinker, etc.) is great…period. They are beyond the rest of ‘us’, who are nothing but lowly ants that have been graced by their presence…the problem is that artists actually believe this and treat the audience this way-separate and lower. The audience accepts this as their rightful place. It’s so complete Bull $#^!, but it is the norm…remember, I have brought this up now in a number of letters…

Anyways, so we play this show…with a drum machine, remember.? Also, perfectly acceptable. We even had a percussionist on stage to ‘fill in’. A couple of days later, I played a club gig with this same percussionist (and basically the same band, but the leader wasn’t there) and I commented on the drum machine and how much I hated it. His comment? “It’s not so bad; it’s very good for many situations and can add a lot”…What?…you’re a PERCUSSIONIST and you like the drum machine? He went on to say how much he prefers working with it because it’s always steady and you know what it’s going to do…“For God’s Sake, man!” I said, not unviolently “this is JAZZ we are talking about! Not some syntho-tracked pop music to back some untalented American Idol contestant. This is music to be played LIVE!” He didn’t agree…many are of the same view. “It’s easier, the audience doesn’t mind (and isn’t important); it’s good, steady, and controlled. We play it the same way all time, anyways”…

…it’s bull $#^!, that’s what it is…

Well…enough of this topic. I’m starting to foam at the mouth…

In Russian culture news, let me tell you: we went to Peterhof yesterday. Wow, I have to say, wow, I was impressed. The palace complex, which is based on Versailles, was just beautiful. We took a hydrofoil to the palace-that alone was cool! I don’t think I have been on a hydrofoil before. This was probably the most comfortable I have been on or in anything made in this country…anyways, we left from across the Hermitage and headed into the Gulf of Finland-great voyage! Of course, the Gulf itself is an ecological disaster, but that’s a whole different topic. As we came upon the palace complex, we could see the main fountains rising in the distance. The palace complex is known for its many, many different fountains. There is even a once fully-functional waterway (it still has water, just no boats) that leads up to the Great Palace door, surrounded by fountains and canals and incredible gilded neo-classical statues.

We spent the day walking around the grounds, which are well-manicured and laden with both paved and dirt paths which lead to the many buildings, statues, and many, many fountains. The fountains were great. There was one which I really liked that was shaped like a chess board that was built into the side of a hill. At the top were dragons whose mouths the water sprayed out. Very cool.

It was just great to get out of the city for a while. Even though my touring is done, my physical ailments (my ankle, especially) have kept me mostly locked inside my apartment. I was able to walk a great deal yesterday, which lifted my spirits. I only have a month left, and I want to try and make the most of it.

I’ll finally get to the Hermitage. Let me tell you…we went the first month we were here and it was a disaster. Between being misguided by staff and dealing with closed exhibitions, it really was a disappointing, if not awful, experience. Granted, I have played in the Hermitage since. Actually, my new ‘claim to fame’ is that I was the first performer EVER allowed to perform among the exhibits, AND get filmed doing it. I walked up and down the Greek and Roman rooms playing flute. These, however, have been my only Hermitage experiences (that and going for meetings for the APXE project) so I have not as of yet enjoyed it.

But I’m looking forward to it. They have a great collection of French art, which really interests me, especially Matisse. I can’t get enough Matisse-he is my favorite 20th century artist. Not that I’m taking anything away from Picasso, mind you, who for me is equivalent to Stravinsky or Miles Davis in numerous ways…but I prefer Matisse. Any artist who can use that much pink and make it work gets major laudations in my book.

I’ll tell you all about it soon.

Your traveler,

Demetrius

Guest performer with jazz group Vos do Ar at the famous Russia Hotel; St. Petersburg, Russia

JFC Jazz Club; guest performer with Vos do Ar at Russia’s top jazz club; St. Petersburg, Russia

8 July 2008
Mark Twain
United States of America

Dear Mark,

Well, here we are; I’m at the finishing line for my scheduled performances. As I had mentioned, the last few weeks (since I have been back in Russia) have presented one frustrating professional (term used VERY loosely) situation after another. This last week was not any different…

But first, I must say that I spent a quiet Independence Day here. Once again, this is usually a big celebratory event in my family. We met with a couple of Margaret’s colleagues (Americans) and toasted the USA with a Russian beer. That was nice…the week plummeted sharply from there…

I need to talk about the Russian’s sense of jazz. They like jazz, really. Of course, what they like is not REALLY jazz for a jazz player/aficionado, but at least they like something that is related. There is a great love here for Smooth Jazz…ahhhh (you have to sigh after saying ‘Smooth Jazz’…try it…it helps).

I hate Smooth Jazz. Well, at least I hate most of it. There are some great players who do this, don’t get me wrong. But there are also MANY marginal musicians who have become popular (and wealthy…) doing this bastardized New Agey-Pop for the chardonnay-sipping crowd. But, people like it, so who am I to argue?

Anyways…so I have been a guest player with this Russian Smooth Jazz band. Great guys, really excellent musicians…actually, by far the best musicians I have heard in this country (any style). The tunes are pretty good…a little monotonous and drawn out, but OK. What kills me is the drum machine…yes, jazz with a drum machine. Now, I have played with this group at fancy dinner clubs, and you know, the drum machine can pass…somewhat. When people are picking at tapas and sushi and swilling wine spritzers they aren’t really paying any attention to the band that has numerous layers of percussion with no human actually playing any of them. But…this band plays jazz clubs. In fact, we are playing probably the best one in Russia this week. This band has played there many times, WITH the drum machine…nobody seems to mind. I don’t get it…the audience accepts this as being perfectly reasonable…

I don’t. To make matters more humorous (or frightening, as the case may be), the show at this club is billed “The Sound of Chill”…with my name next to this as a special guest…any of you who have seen my live performances know that the idea of ‘chill’ is the antithesis of what I do. I don’t think I have ever been associated with the word ‘chill’ in any aspect of my life…ouch…

Speaking of association, I have to talk a little bit about ‘labeling’. The idea of a label is something that is of absolute importance to the music industry, but heinous to most artists. We hate to be categorized, well, at least I hate to be categorized. I do a number of different things professionally, and my creative work doesn’t really fit any standard groupings (thank GOD), but that doesn’t stop concert promoters and publicists from trying to explain what I do in 3 words or less…

It’s funny…this year, my concerts have fallen under numerous categories in publicity blitzes and promotional materials…it’s funny. I have been billed as classical, contemporary classical, experimental, avant-garde, jazz, ethnic, nu-jazz, pluralistic, futuristic, minimalist, post-minimalist, totalism, post-modern, post-classical, post-jazz, and multimedia…all, mind you, for the same basic program…I actually had to look some of these up when I saw the posters to figure out what I am supposed to be doing…but, luckily, the ‘Sound of Chill’ was never branded upon me…until now…

Which brings to me to my final Russian festival experience…this, was awful. As most Russian events are, this was poorly managed, poorly planned, poorly executed, and poorly attended. It was poorly poor. I worked with some dancers, who, by the way, were probably the highlight of my entire Russian festival experiences this year. We created improvisations to paintings. This, I thought, was successful. The next presentation was me improvising for artists to create paintings to…this was awful…what was created was beyond poor. The whole festival reeked of forced-fun arts and crafts projects…terrible. My final performance was with the Society for Overtone People. An amateur group who I have performed with a few times this year. Nice people, and they do what they do very well. But, to be honest, if I never hear another didgeridoo again, it will be too soon…I don’t understand the Russian fascination with an instrument that I equate with 1970s college dorm room bong-enhanced weekends. I mean, OK, it’s kind of cool, for about 10 minutes, TOPS. The fact that I had to create my modern dance work with a prominent didgeridoo part was bad enough (that’s what the person paying wanted…); but the fact that Russian producers think this instrument has much mass-appeal for Western arena-sized concerts and for all Western audiences is very narrow-minded.

In fact, at this festival, I had an interview with newspaper reporters that was also broadcast live via internet. They kept asking me questions about the didgeridoo…I asked if they were going to ask me anything of importance, they said ‘no, we are interested in the didgeridoo only’. They then asked about my spiritual affiliation with the instrument before my Russian experiences with it and how it has enhanced my creativity. I, of course, answered that I never gave it any thought beforehand, and once I leave will probably give it little thought again…then smiled at the camera…I don’t think they liked this…

Of course, this is what I get when I say ‘yes’ to things that I should know better about. It’s been a long year; I have acted as booking agent, manager, producer, composer, performer, and sometimes even sound engineer, all usually for the same concert. Enough. I actually wouldn’t mind someone else making all the decisions for a while…I’ll just go and play 2nd clarinet in a orchestra somewhere and disappear. But, of course, with my ‘lack of chill’ personality, this wouldn’t last…

Although, I do have some good news. I actually saw a Russian ‘healer‘. Doctor/hospital medicine here is best avoided, believe me. This person was a friend of a fiend and came highly recommended. To put it bluntly, she beat the crap out of me. She combined intense, deep tissue massage with chiropractic treatments for THREE HOURS. Ouch. I felt like I had been beaten with an existential rolling-pin. But…I have to say that days afterwards, I haven’t felt this good in a long time. My ankle still hurts greatly and walking is still an issue, but the rest of the body is feelin’ fine. Russia has this all over the West, I have to admit. Next treatment Friday…wish me luck!

To celebrate, I went American: Carl’s Jr. on Nevsky Prospect. It’s funny, I would never go to a place like this in the US, but in Russia, man, it just felt right. Let’s hear it for Western Capitalism! Double Western Burger…mmmm…the funny thing is, I had heard that fast food places like McDonalds are actually of far superior quality here than in the US. They were right. Carl’s Jr. was great. Not greasy or fatty, and the beef was definitely of better quality and cooked very well. Hmmm…who woulda thunk it…?

I’d still rather would have had it on Broadway, but you get what you can get…
Anyways, that’s all for now.

Your respectful traveler,

Demetrius

Colorfest (Festival of Light); improvisation/performance art collaboration with visual artists and dancers, includes gala performance later with the Society of Overtone People; The Place Club, St. Petersburg, Russia

Guest performer with jazz group Vos do Ar at the famous Russia Hotel; St. Petersburg, Russia

This interview, which took place while Demetrius was living in St. Petersburg, Russia and performing across Europe and Asia, discusses his background, most important experiences, and his current and future projects.