Sleevenotes from Intergalactic Boogie Express.

 

Commentary.

 

I

 

The performance project for the Spring of 1991, from which these performances are taken, was designed to be a major part of the second year of a three-year commitment to live performance undertaken by The League of Crafty Guitarists. 

We began at a level Two Guitar Craft course on the Isle Polvese during March 5 - 9th. during which the "Careful    With That Axe" video was filmed. Then we worked our way through Italy and Austria into Germany, Holland, France and Spain, completing the tour in Seville on Sunday 4th. April. 

The response to the performances varied. At one performance in Spain, part of a cultural festival at which the, mayor and dignitaries shared a box in the town's splendid old theatre, the mayor burst into laughter as we began playing. And then he left. Guitar Craft performances are probably not for everyone.

Learning to deal with audience response and reaction, however informed or ill-mannered, is part of a musician's training and involves an appreciation of subtleties. Where   the performer has less protection than a wall of sound, sufficient to press an unwilling audience against the side   and back walls, the appreciation of subtleties may be a  matter of survival. 

 

II

"What is immoral is not that the adviser's interests have been served, but that they have served as the criterion of action ... the adviser has been guilty of teleopathy, and has violated both fiduciary responsibility and ordinary decency". Just Business - Business Ethics: Elaine Stemberg (1994)

 

  The background to this Spring tour of 1991 was the collapse of the coach company carrying us around Europe while it was carrying us around Europe, and the collapse of my relationship with Messrs. SG Alder and MA Fenwick of EG Management, EG Records and EG Music. 

At a business meeting with Mr. Alder at his office in 63a, Kings Road on Wednesday 13th. February 1991 and prior to my imminent departure for Europe, as a last item of business I was promised by him that overdue accounts would be presented to my book-keeper on 31st. March. This was a matter of some concern to me. As of January 1st. the EG Music Group, following some months of difficulties, were unable to pay outstanding royalties to their artists. When my accounts were not' presented on March 31st. (Mr. Alder told me he did not remember giving this undertaking) I was somewhere in Holland in a cheap but clean motel with a team of tired touring Crafties, a collapsing coach company, unpaid' royalties, questions and a telephone. This was Easter 1991. 

EG's failure to pay long outstanding royalties on January 1st. prejudiced our LCG tour: there was no royalty income to fund the pre-production costs. So I sold my rarest guitar, a D'Angelico Excell. This made the tour possible. 

On April 8th. 1991 I faxed my resignation to my, now former, managers from a small hotel in Lisle. 

My final meeting with Messrs. Alder and Fenwick took place in Mr. Alder's office on Tuesday 16th. April, the day following my return from Seville on Air Iberia (itself a triumph over adversity). At this meeting I was, amongst other matters of commentary, badinage and exchange, threatened with legal action to force me to remain with EG Records as a recording artist. This threat marks the actual termination of my relationship with EG. It also clearly delineates the distance travelled from the original relationship between artists and advisers in the first form of EG Management, and the later. 

Ironically, had Messrs. Alder & Fenwick explained to me frankly and fully the reasons for their inability to pay royalties which they had received from Virgin Records and BMG Publishing, the licensees, they would have found me, the most loyal of EG artists, willing to continue supporting them. And today I would probably be an EG recording and publishing artist. Sadly, regrettably, and to my present good fortune, after twenty years they didn't know the artist they had managed for so long. Perhaps my loyalty, to me a quality, was for them a weakness. 

Mr. Alder's final comments, as I left his office, were "What have we done? We have nothing to hide". I am not, of course, suggesting for a moment that Mr. Alder and his partner in many enterprises, and of long amity, had or have anything to hide. I do not suggest that the high level of discretion which they maintain in debate regarding their affairs is conducted with the aim of concealment. Neither am I suggesting that the gagging clauses in the management-termination and employee contracts, affecting most of their former artists and employees, were intended or designed to hide anything. But I regret that Bryan Ferry, Brian Eno, Anthea Eno (formerly an employee), Dennis Collopy (MD 1988-91) and others are none of them allowed by their contracts to tell me of their good times at EG, and that their business and legal advisers are similarly restrained from providing testament to the declared probity and sound business practices emanating from 63a, Kings Road, Chelsea. 

On November 5th. 1991 Steven Fisher (the solicitor acting for Messrs. Alder & Fenwick) wrote to Roger Samuels (the solicitor then acting for my wife) reminding him that Toyah must not speak to me, her husband, about anything pertaining to EG: "All matters ... are confidential even between your client and her husband". This was hard for us indeed. We had formerly shared many happy moments reminiscing over her years at EG Management, reflecting on the support and encouragement given her, particularly her fond feelings for Andrew Stanger who, as head of the EG Business Affairs Department, was responsible for the payment of monies to EG artists. Only telepathy and marital osmosis now permit us to converse on topics relating to Messrs. Alder & Fenwick and their interests. 

Mr. Alder's question - "What have we done?" - intrigued me. This had not formerly been a question of much concern in my exceptionally busy life. But once asked my interest was aroused. As I discovered in direct answer to Mr. Alder's question, the principals' financial difficulties began in 1988 with the downturn in the UK property market and a series of events at Lloyd's, the London insurance market, which were disastrous for some and catastrophic for others. 

 

III

 

"A business conflict of interest is only unethical if it or its likely outcome fails to respect distributive justice and    ordinary decency". 

Just Business - Business Ethics: Elaine Sternberg (1994)

 

"Where we are going is how we get there". 

Guitar Craft aphorism.

 

Messrs. SG Alder and MA Fenwick, the principals of EG Management, EG Records and EG Music, who had represented King Crimson and myself since 1969, sold the EG Records catalogue to Virgin in April 1991 and EG Music to BMG in July 1991 for an total estimated at around £44.5 million. The artists were not consulted over these sales, neither were the proceeds distributed. Several of us, the artists, believed ourselves to have a continuing interest in our copyrighted material, recorded and published. 

The original EG Management began as EG Performances Ltd. in1968 and became EG Management in 1970.In November 1988, with Messrs. Alder & Fenwick as directors, it changed its name to Athol & Co. In August 1988 a new company was incorporated as Andraford Ltd. also with Messrs. Alder & Fenwick as directors. When the original EG Management changed its name to Athol & Co. in November, Adraford changed its name to EG Management. From November 1988 onwards the EG Management which presented itself to the world was actually a new and different company to the former EG Management of some twenty years' history. The company which had managed King Crimson and myself for 19 years had become Athol & Co. 

Athol & Co. provided the consultancy services of its directors Messrs. Alder & Fenwick to Messrs. Alder & Fenwick's EG Music Group. The EG Music Group paid Athol & Co. £561,000 for their services in the two year period 1989/90. Athol & Co. paid directors' emoluments of £1,112,000 to Messrs. Alder & Fenwick during the four years 1989-1992. The EG Music Group also loaned Athol & Co. over £4,000,000 in the two years to the end of 1990. Athol & Co. itself loaned £2,600,000 to other companies in the common control of Messrs. Alder & Fenwick, whose Old Chelsea Group included their Old Chelsea Property Corporation. The EG Group had already guaranteed a loan of £1 ,825,000 to the Old Chelsea Group by the bankers C. Hoare & Co. in April 1988. 

Presciently (seen from 1995) on February 15th. 1989 I wrote to Dennis Collopy (appointed MD of the EG Group    on May 15th. 1988): "The general point to be acknowledged is, without any sense of accusation or complaint, that EG is no longer a management company in the sense that we understood, even five years ago". I did not know at   the time that EG Management actually was a different company.

 

IV

 

"We only have what we give away".

Guitar Craft aphorism.

 

"The UK Record Industry Survey 1993" by Cliff Dane, page 96 on the EG Group Ltd. (formerly EG Music Group Ltd.). 

"For most of the period included in the table below (1984-91) the affairs and structure of the group were relatively straightforward. It owned EG Records Ltd, now Virgin EG Records, EG Music Ltd., a music publisher, music management and property interests. Through the period, the directors received substantial remuneration and from October 1988 onwards very large consultancy fees were paid to Athol & Co. Ltd. (formerly EG Management Ltd.) a company owned by Sam Alder and Mark Fenwick which was taken out of the group in 1988. From the late eighties things seemed to start going wrong for the group. It is possible that losses on property interests were the key factor in initiating a rapid decline". 

(Mr. Dane was unaware of Messrs. Alder & Fenwick's participation in the London insurance market as Lloyds' Names between 1984-91). 

At the bottom of Page 86 Mr. Dane comments under "Significant Accounting Policies/Notes": 

"- The 1990 auditors' report was qualified as the overseas subsidiary accounts had not been audited, the auditors were also unable to form an opinion on the recoverability of a debt of £4.0m from a company under the common control of two of the directors being Athol & Co. Ltd. There is no indication of how this debt arose. - In 1990 consultancy fees of 292K (1989 - 269K) were paid to Athol & Co. Ltd., a company of which Alder & Fenwick were directors. 

The disclosure in the accounts makes it difficult to determine whether the total directors' emoluments in the summary table includes pension contributions or not. It is possible that directors' emoluments in the summary table do not include pension contributions which have been as much as 100K per annum". 

Published company accounts show the following: 

1. In April 1988 the EG Group Ltd. guaranteed to bankers C. Hoare & Co. repayment by the Old Chelsea Group plc of a loan of £1,825,000. 

2. The Old Chelsea Property Corporation declared a loss on the 1988 financial year of £391,766, which was carried forward into 1989. 

3. The loss for the EG Music Group in the 1989 financial year was £301,000 on a turnover of £3,757,000. 

4. EG Music Group paid £215,000 in 1989 to the Athol Trust (the EG Music Group's pension scheme for the benefit of the controlling directors.) 

5. The EG Music Group Ltd. paid £269,000 for the consultancy services of Athol & Co. Ltd, a company of which Messrs. Alder & Fenwick were directors. Mr. Alder and Mr. Fenwick received £180,000 each from Athol & Co. in the financial year 1989. 

6. Athol & Co.'s accounts for 1989 (filed in July 1992) showed a loss of £57,000 on a turnover of £418,000. Athol & Co. were owed £2,600,000 by companies in the common control of Messrs. Alder & Fenwick. Creditors due for repayment within one year totalled almost £3,250,000. 

7. For the year 1989: 

EG Music Group loss £301,000

EG Music Group paid to Athol & Co.  £269,000

EG Music Group paid to the Athol Trust £215,000

EG Music Group payments to Athol & Co. 

+ The Athol Trust £484,000 

(i.e. payments to the 2 Athols is equivalent to 160.08% of the EG Music Group's financial loss for 1989. 

8. EG Management Ltd. (incorporated in August 1988) had a loss for 1989 of £31,000 on a turnover of £380,000. 

9. Old Chelsea Property Corporation had a loss for 1989 of £411,031 on a turnover of £160,097. 

10. The EG Music Group had a loss for the financial year 1990 of £942,000 on a turnover of £3,735,000. 

11.The Athol Trust received £123,500 from the EG Music Group in 1990. 

12.The EG Music Group Ltd. paid £292,000 (£269,000 in 1989) to Athol & Co. for the consultancy services of Messrs. Alder & Fenwick. 

13. For the year 1990: EG Music Group loss £942,000

EG Music Group paid to Athol & Co. £292,000

EG Music Group paid to Athol Trust £123,500

EG Music Group payments to Athol & Co. 

+ The Athol Trust £415,500 

(i.e. payments to the 2 Athols was equivalent to 44.06% of EG Music Group's financial loss for 1990 and equivalent to 322.65% of royalties owed me to December 31st. 1990 £128,777.08 by EG. 

14.Athol & Co. had a loss for 1990 of £159,000 on a turnover of £452,000 with an accumulated loss of £217,000 carried forward. 

15. Old Chelsea Property Corporation had a loss for 1990 of £2,320,432 on a turnover of £1,750,196 and carried forward an accumulated loss of £2,712,198 to 1991 (going into liquidation on August 121h. 1992). 

16.0n December 31st. 1990 the EG Music Group was unable to meet royalty liabilities to artists. 

17.ln the four years 1989-1992 Athol & Co. paid directors' 

emoluments totalling £1,112,000. 

18. On August 12th. 1992 the Old Chelsea Group plc went into liquidation. Mr. Adler's sworn Affidavit of that date showed an estimated total deficiency of just over £4,000,000 while Mr. Alder deposed that £2,000,000 was available to preferential creditors. Liabilities included a non-preferential claim to the EG Music Group of £1,700,000 and £36,000 to Athol & Co. Ltd. 

19.Ikenstock, the partners' offshore company, does not file returns in the UK. 

 

V

 

"... our general principle is: firstly. to pay royalties as close to the accounting date as possible". 

SG Alder Esq., a letter of October 8th. 1990. 

"We pay our own tab". Guitar Craft Aphorism.

 

On February 18th. 1991 Michael Giles, a founder member and the original drummer of King Crimson, wrote a letter to Messrs. Alder & Fenwick complaining of no reply to his several calls and letters over the preceding 10 weeks in pursuit of his unpaid royalties. Other members of the original Crimson had also experienced some difficulties since 1989 in speaking to Mr. Alder regarding prompt payment of their royalties. 

On March 1st. Michael Giles' solicitor, Coles Miller of Wimborne, wrote to Andrew Stanger (head of EG Business Affairs) threatening action. 

On March 5th. Andrew Stanger replied to Coles Miller: "Unfortunately we are not at present in a position to be able to pay publishing royalties to your client ... and I hope that by the end of the week we will have paid the royalties in question". On March 21st. Mr. Stanger wrote again to Coles Miller enclosing a cheque for the period ending 30 September 1990. The cheque was signed by Messrs. Fenwick & Stanger and dated December 31st. 1990. 

On 7th. March 1991 Mr. Alder wrote to J.D. Begner, the new account manager at Coutts & Co., Sloane Square, thanking him for his letter of 6th. March 1991 and wishing "to confirm my request on behalf of (Fripp's) Company that a temporary overdraft facility of £10,000 be granted for a maximum period of two months pending receipt of outstanding royalties ... from EG Records Ltd. and EG Music Ltd. (which) will be credited to the account of (Fripp's) Company within the next month". 

During the first week of April 1991, from somewhere in Holland, I telephoned Mr. Begner at Coutt's and took personal charge of the operation of my accounts, replacing Mr. Alder who had hitherto given instructions in my banking affairs with the power of attorney vested in him. Mr. Alder's response to my action, in a telephone conversation between us shortly afterwards, was: "You made me look like a common criminal". 

On April 19th. I received a cheque from EG Records. The sums outstanding to myself were paid in three stages: £80,279.53 on April 19th. 1991 for payment of record royalties due over several accounting periods; £48,497.55 on June 28th. 1991 in respect of a "recording fund reserve" created by Mr. Alder in 1988; and £9,010.24 on January 7th. 1992 which covered various production royalties dating back to November 19th. 1987. 

On April 24th. Coles Miller wrote to Andrew Stanger enquiring the reason for the delay in payment. On June 3rd. Andrew Stanger replied: "The delay in royalty payments was due to an unexpected delay in the completion of the sale of E.G. Records Ltd. to Virgin". Mr. Stanger did not discuss in this letter whether the £561,000 paid by the EG Music Group to Athol & Co. in the preceding two years for supplying Messrs. Alder & Fenwick's consultancy services to their own music companies, nor whether the loan by the EG Music Group to Athol & Co. in excess of £4,000,000 in the same period, had any bearing on the matter under discussion; I.e. late payment of artist royalties. 

 

VI

 

"There has often been speculation over the last 20 years as to exactly what EG stands for. Some have reckoned it's an acronym along the lines of exempli gratia, a good example to others. Or perhaps excellence and grace in terms of Sam Alder and Mark Fenwick". 

Nigel Hunter, Music Week Advertorial, October 21st. 1989.

 

"VROOOM: A remorseless and seemingly inevitable forward motion which carries all before it". King Crimson press release (1995)

In 1991 Messrs. Alder & Fenwick resigned. from Lloyd's, to which they had been elected in 1984. 

 

The losses in the London Insurance market reached catastrophic proportions in the years 1988-91, hit by disasters Including Piper Alpha, Hurricane Hugo, Exxon Valdez and the Iraqi invasion of Kuwait. These were not good years to enjoy unlimited liability in a Lloyd's syndicate, or even several. 

On June 26th. 1991 Messrs. Alder & Fenwick resigned their directorships in, following the sale of, Yeoman Security Group plc, Yeoman Security Guards Ltd. and Yeoman Security Systems Ltd. On September 25th. 1991 Messrs. Alder & Fenwick resigned their directorships in Yeoman Medical Ltd. and Yeoman Airport Services Ltd. 

In 1991 both the partners' personal houses were put on the market. Mr. Alder's in Wellington Square, Chelsea, sold before the end of the year and Mr. Fenwick's in Parkside Gardens, Wimbledon in 1992. Both partners now live in Chelsea. Currently Mr. Alder continues on the committee of Nordoff Robbins, the music therapy association, of which he was treasurer for several years during the 1980s. Mr. Fenwick continues in the family business of Fenwick's. 

The partners lost a record catalogue, a publishing catalogue, most of their artists, their property company, their security companies, their homes and a loyal friend. The new EG record licensing deal with Virgin ended in 1992 when projected sales targets failed to be reached. The new publishing relationship between EG and BMG was voluntarily terminated in 1993. 

The partners are now directors together in a new EG company incorporated as Sandrahawk Ltd. on June 7th. 1994 and changing Its name to EG Radio Ltd. on June 20th. 1994. The company's shareholding increased from £1,000 to £1,000,000 when Mr. Alder became a director. EG Radio is based at the same address - 63a Kings Road - which has been EG Central since 1970. The former EG sign, taken down when the music operation moved to 180 Kings Road in 1989, has not been replaced since the music operation, such as it is, moved back in 1991. A passerby may today walk past the office, look up and see the partners behind their desks In their respective front offices.

 

VII

 

"Go as far as despair and say 'Lord Have Mercy'". 

Saying attributed to a teacher of dancing, c. 1925.

 

The dispute and litigation with my former managers had the effect of knocking me out of my six years' close involvement in Guitar Craft, and just about everything else as well. The months between May 1991 and February 1992 were as dark as any I have known, without hope, without light, without end. Performances with David Sylvian and Trey Gunn (beginning February 1992 in Japan) were the first signs of life and respite from continuing distress since the EG debacle switched to overdrive. 

On March 30th. 1993 following nearly two years of fruitless settlement discussions my lawyers served a High Court writ upon Messrs. Alder & Fenwick, EG Management, EG Records (i.e. Virgin) and EG Music (i.e. BMG Publishing). Sadly I acknowledge that the original partnership between artists and the founders of EG Management was understood differently by artists and the succeeding managers. Myself, I had mistakenly believed the relationship to be one of partnership based on mutuality, reciprocity and joint interest. I also wish that I'd had a client account. 

I have received many requests from within the industry, particularly from those who have had personal dealings with Messrs. Alder & Fenwick and their EG companies, to write "Endless Grief: A History of EG". I have also received several invitations from American . music magazines to contribute, for the information of a younger generation of professional musicians, articles on how it is that a relationship which began so well could go so wrong. Also, I am beginning to be canvassed as a contributor to seminars programmes for the English music industry. 

This is a story which deserves to be told more fully but currently my attention is more directed towards present and future concerns. 

The High Court writ remains unrequited at the time of writing, the dispute now running for four years. 

A simple delay by the Virgin Business Affairs department in November 1992 (an advance for "The Great Deceiver" box was sent 20 days late) forced me to take out a second mortgage on my home to keep that project on course. A simple mistake by Virgin Records' accounting department in March 1993 brought me close to bankruptcy: they had been unaware for 3 royalty periods of where to send my King Crimson production royalties for the "Frame By Frame" Box Set. This brought me into personal contact with the Inland Revenue and the suggestion that bailiffs might enter my home and seize the furniture. Declan Colgan, Hero of A&R at Virgin, saved my vegetarian bacon. 

Then, on July 22nd. 1993, my dear Mother died of cancer as I was holding her hand. Nine days before I had received a letter from Steven Fisher Esq., the solicitor acting on behalf of Messrs. Alder & Fenwick, threatening me with a libel action following a somewhat critical letter to my two former managers. That afternoon I visited Mother in hospital and told her it was likely Messrs. Alder & Fenwick, who she knew as the best men at her son's wedding in 1986, were about to sue me for libel. Wonderful little Mother retorted: "And a good thing too, for a lot of people". This was my Mother. I apologised to my former managers, the best men at my wedding, and saw my little Mother leave this world.

My spiritual mother, Mrs. Elizabeth Bennett, regularly visited the Guitar Craft house in Cranborne, Dorset, which we maintained between 1986 and 1989. On one visit to meet the students (Elizabeth was a great supporter and encourager of Guitar Craft) she commented, almost as an aside, "there is no justice in this world". At the time I thought this too hard a saying. Now, from my different and more informed perspective, I am prepared to accept that justice in our world is not always easily to hand. But, sitting with my Mother as she flew from this world, I am persuaded that justice, if not available in this world, waits nearby. For myself, I do not wish to find justice waiting for me as I cross that particular threshold. 

Elizabeth Bennett died on Thursday 22nd. August, 1991. To my good fortune, I maintained contact with her both before and through her illness and visited her, for our farewell meeting, some nine days before she died. The following evening I sat by her deathbed. Not long ago, filing some letters, I found a letter from Elizabeth to me shortly before her 68th. birthday. In it she wrote: "Only six more years to go!". 

These were bleak times.

 

VIII 

 

"Begin with the possible and move gradually towards the impossible. So what is possible?". 

Guitar Craft aphorism.

 

My Guitar Craft background and training sustained me during this four dark years of the soul. 

One of the prime Guitar Craft aphorisms is the injunction to: "Turn a seeming disadvantage to your advantage". So during the experientially endless, bleak nights and early mornings throughout the first year of dispute and afterwards, I held this maxim in front of me. The larger the seeming disadvantage, the greater the possible advantage. How might I turn this appalling. situation to my advantage? 

Now, four years later, my answers to this question are beginning to come into effect. 

The creation of Discipline Global Mobile is one of the answers: a small, mobile, proportionally intelligent, artist friendly and independent company which works with both major labels and independent distributors. In response to requests, and to make the information available should it be useful to others, we shall present DGM's aims and business policy on a future occasion. 

In Guitar Craft I took the opportunity to address the students' over-reliance upon both myself and my own intensive and extensive participation. If I had not been knocked out by the EG dispute I would have had to have found another way. The actuality was sufficient. 

In my personal discipline I have found ways of cultivating resilience and perseverance which, even for this Taurean, were unknown. Although for the several years I persisted without hope, I knew that hope remained - but slightly beyond my reach: As my Mother slipped quietly and gently through the small space which separates life and death, I was keenly aware of my own wish to settle all my debts and outstanding business when I follow. I hope, and pray, that I have no unresolved baggage to carry through the eye of that particular needle. 

And what of the Christian injunction, to love our enemies? To forgive, yes, but to love? This is truly hard, while not impossible, but only with grace. I have known this, for a little while. 

My appreciation of simple things -the sun upon a rose in bloom, a tree matured and wise, the company of my wife, listening to music - has deepened. In the presence of death and dying, even the death of honour, trust and friendship, how sweet are living things. I remain without cynicism. When a musician becomes cynical, deafness falls upon them. But I am better informed on the operations of this world. For Guitar Craft, this is a plus. 

 

IX 

 

"Honour necessity. Honour sufficiency. But always be true". 

Guitar Craft Aphorism.

 

One week ago, on March 25th. 1995, we celebrated the tenth anniversary of Guitar Craft. Two days later the second level One in Argentina began. The course, at which this is being written, has the sense of a new beginning. My own personal condition in GC and what is required of me has also changed and .become clear during the week. Guitar Craft, myself and my relationship to it, the students, have all grown in the past decade. Something very new is waiting to begin again, again. The future is presenting itself to us. 

The demand for courses in both Argentina and Chile are currently more than we can address. There is the same level of enquiry, interest and commitment in South .America which I saw in North America a decade ago. 

Crafties from the first ten years are applying and assimilating their experience in a variety of ways. Some are not primarily guitarists, and some not interested in the guitar at all. The latter have come to Guitar Craft primarily as a means to acquire a personal discipline. Guitar Craft principles are being applied in education, insurance, computer studies, bell hopping, painting and sculpture, poetry, literature, translation, cleaning, record sales and merchandising, music promotion, piano playing, accounting, child rearing, even drumming. 

Some Crafties also practise guitar. 

Guitar Craft is, for some, the way to their way. For others, like arriving home. For very few it is a mistake. II would seem that Guitar Craft is moving out into the world. 

There are several professional groups with a Guitar Craft background - The California Guitar Trio, Los Gauchos Allemanes, The Europa String Choir, The RF String Quintet - which emerged in the wake of The League's departure from active service described above. Gitbox Rebellion from New Zealand both preceded and followed GC involvement. Two members of the current King Crimson, Trey Gunn and myself, have a Guitar Craft background. 

Many more amateur and semi - professional groups with GC input rehearse and perform around the world, including The Wilsons in New York, Tokyo Hands in Japan and Guitar Point in Buenos Aires. 

The sequential and staged courses of the period 1985 - 1991, for players of growing experience, have been replaced by Application & Assimilation courses open to Crafties of all levels of experience. The criterion for these is that the students have applied GC principles in any part of their lives and living. 

Introductory Courses, or Level Ones, are currently being held regularly in Argentina. If and when they are needed elsewhere, I hope that we may be able to respond.

 

 

Saturday 1st. April, 1995; 

San Jose Seminario, 

GANDARA, 

Buenos Aires Province, 

Argentina.