KC Interview A. Belew
Date: Wed, 25 Oct 95 16:22:46 JST
From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa)
Subject: KC Interview A. Belew
This is a continuation of the translation of an interview conducted by the
AB represents A. Belew. M represents Marquee interviewer. Please refer to
my earlier translation if you want to capture the whole atmosphere. I can't
translate everything at once due to time constraints.
M. Is that where King Crimson as a band differs from other bands?
AB. It's hard to find out which part of King Crimson is different from the
other's. But the general characteristic of King Crimson is like that. Of
course, it is no doubt that Robert is responsible for the majority of it.
He leads the band and if there is certain sound that he likes then it's
probably the sound we are creating. He is supporting everything in the
back. I, Tony and Bill who have been working with Robert take in the
concept and make it into a material we could play. Each person with strong
characters and their music identity crash each other and form one material.
Though we discuss much about it before we play it, the music itself has its
own life in the end and it will move on.
M. I have an impression that Robert is not only an instrument player but
also his certain policies
of music frame the activities of King Crimson. Which part of Robert do you
sympathize with and therefore continue to be a Crimson member?
AB. He is my favorite player but at the same time he is a conceptual
musician. He has a very strong ideas and insists on fulfilling those ideas.
He will concentrate on those ideas. That's why there is a strong character
in his music. The reason why I like to play with Robert is that two of us
together can do something others can't do. He always supports my ideas and
I feel that we have a very good partnership. He is also a good friend of
mine. He is a complicated person so it takes time to understand him. I have
spent a lot of time on it and he became a good friend. Even if we didn't
play together, I would have been a fan of his activities.
M. Wasn't your visit to Robert's house and your discussion with him in 1991
one of the major triggers for starting King Crimson this time? Did you
propose anthing to him at that time?
AB. I proposed to him in the beginning that we should bring in the right
players and make it a band or Robert and I only would play together and
invite different players per album. You know that in early King Crimson
days they had different players per album. So I thought it would be easier
for Robert to do like that. He and I would form a core and then invite
players who would fit for each song. This song should be played by Bill
Bruford, but the next one should be played by Pat Mastelotto. That was my
original proposal. If you don't want to do a full band King Crimson with
former members, then it could be done in the way I just said. But few
years after that Robert thought that he wanted to do everything including
that (Laughs). I think that's why he wanted to have both Pat Mastelotto and
Bill Bruford in the band. I was pleased that he arrived at such a
conclusion. There's nothing we cannot do now. It's wonderful for me that I
can play with them.
M. But why did you at that time proposed the rebirth of King Crimson?
AB. Here in the States, since the atart of the '90's there were rumours
here and there that the new King Crimson would be born. I was always asked
by everyone if there will be a birth of new King Crimson. So I thought I
should meet Robert when I went to England for some other occasion. I met
him and asked if there would be a new King Crimson. If there would be one,
I said I want to definitely join it. Interesting thing was that Robert was
already thinking the same thing.
M. Was that a simple coincidence? Or ---
AB. There was something I think. We realized vaguely that the time has come
again for King Crimson to do something. I didn't want to be out of it. Not
just watching it from a distance but I wanted to actually take part in it.
(to be continued)