Interview with H. Moriya (CGT)
Date: Thu, 19 Oct 95 18:30:23 JST
From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa)
Subject: Interview with H. Moriya (CGT)
This is a partial translation of an article from a Japanese magazine "Arch
Angel". They interviewed Mr H. Moriya of CGT on March 5, 1995 at Pit Inn (a
jazz/rock club) in Tokyo.
AA. Tell me how you joined the Guitar Craft.
HM. I went to the US and attended Barcley College of Music. The education
there was very worthwhile including the study of basic theory for two
years. But after that the college required me to study even higher degree
of theories. I doubted if that was necessary for me and started skipping
classes. At around that time, I learned that there was the Guitar Craft led
by Robert Fripp whom I had been a fan of since long time. The information
in the GC was not as open as it is today, including the guitar tuning
method. I was told not to touch any guitar for a week before I joined the
GC. I was told to bring along an acoustic guitar and a metronome.
AA. Do you use music sheets at CG?
HM. You are not required to have the knowledge of music sheets because you
cannot call it a music if you only play according to what's written on the
AA. Tell us about how you formed the CGT. Why did you decide to have three
HM. I joined the GC in 87. I played in The League of Crafty Guitarists
during 87 - 90. Just before The League was disassembled, at a concert in
Seattle, Robert Fripp asked me and other few members "with whom we wanted
to play after the disasssembly". We decided to form a group with four
members who raised their hands at that time. But one member had to retire
because of a problem with his finger, a common problem for
guitarists. That's why we are with three members now. Of course there are
many things that you can only do with four members. Most of the repertoirs
we had were abandoned. But I think we became stronger than before because
of that. Because The League had a lot of members, small mistakes were not
so apparent. Also, the more experienced members could bring up the level of
unexperienced members by playing together on the same stage. With only
three members, you cannot rely on those.
(to be continued)