open island dream


This time it’s a dream we experienced in 1999, traveling Brazil. Close to South America’s biggest megalopolis of Sao Paolo, there is an island called Ilhabela (“beautiful island”), where at last we found places nearly untouched by civilization. It took an adventuresome tour to the backside of Ilhabela, though, and there were only few people due to the “winter” season, which was not winter at all.

We don’t travel much for several reasons, one of them being the pollution caused by too many planes world wide. But we’re still feeding on that experience. I can’t recall being so exposed to pristine nature any other time in my life.

guitar & gear: ’67 Stratocaster, Vox AC 50, Tube Reverb

hidden island dream


It could be the dream of an hidden island.

Or it could be an island dream hidden in the middle section of this track, framed by a not so dream-like beginning and ending.

Or is there a hidden dream within you?

guitar & gear: Fender Jaguar, 1967 Vox AC 30, Tube Reverb

conference of the birds


Following my habit of stealing titles (not music) from other artists – this is the title of an album I greatly admire: “Conference of the birds” by Jazz-bassist Dave Holland, who played, among many others, with Miles Davis.

But improvising in a similar manner as birds do, was an idea that came to me out of the blue (the association with the above-mentioned album being called up afterwards).

Yes, it is a conference they are holding, and no, we usually don’t even take the time to listen.

guitar & gear: Fender Jaguar, Vox AC 15, Tube Reverb

the sound of silence


We all know a song of this name, and if you are old enough (like me), it probably brings up certain memories. But the music you hear when clicking the player sounds different – although it is kind of an extension over the original intro…

Clearly we cannot reproduce silence as musicians, but silence may become an essential part of our music. And sometimes it’s the most powerful part.

guitar & gear: Fender Jaguar (using a capo for the mandolin effect), Gibson EB3 Bass, Vox AC 15, Tube Reverb, Susannes voice (phased)

the kiss


An improvisation using the tremolo channel of the AC 30.

I encountered this fountain in the center of my hometown, and instantly decided to make up a post named “the kiss”.

The world fades away in this special moment, water freezes, and only the echoes of togetherness remain. The word “tremolo” this time made me think of weird expressions like tremor amoris or fontana tremi.

Again, the resonance strings of the Jaguar and switching to different sounds can be heard.

guitar & gear: Fender Jaguar, 1967 Vox AC 30, Tube Reverb

minor only


Around the time when most people are super-busy in preparation of celebration, I often find myself in a mood which is best described by the exclusive use of minor chords in this piece of improvisation.

Mostly simplified as musical sadness, minor is like the Yin side of music, not action, but reaction, shade as opposed to the bright light of day.

Listening to the completed track, I found it totally adequate to my current mood. And then I listened again…

guitar & gear: Fender Jaguar on three tracks, Fender Tweed Champ, Tube Trem, Cry Baby Classic, Tube Reverb

radiate red


guitar & gear: Gibson Les Paul Special, coming in two tracks; Vox ToneLab, Tube Reverb



Collaboration with Susanne

It’s a summer’s evening in the country. The air is moistening, but still warm. Our friend’s summer celebration has just begun, the tent is pitched, and we take a look down the hills before joining the party.

This is the light version (pun intended) of an evening atmosphere, dusk in this case meaning the beginning, not the end of something…

The musical piece this time consists of far more than the usual one-man-improvisation: though it began exactly like that, it was elaborated as a multi-track-tune, re-recorded and in the end Susanne sang partly improvised, partly well-arranged melodies to it. I can publish tunes like this only once in a while – or it would be just one post a month. But I liked the light atmosphere of the original improvisation so much, it brought up a bunch of additional ideas.

For those curious about the original, I add it here. It may be interesting to follow the evolution of this piece:


participants: Susanne Fritzsche – vocals, Gary Winter – Fender Stratocaster, Gibson EB3 bass, percussion



Here’s the reason why I felt Mediterranean on a rainy day in June – a different meaning of the word “Mediterranean” than suggested by the clich├ęd photos on a tourist brochure. From where we live the Italian “mare” is the nearest.

This is the stunning interior of an Italian restaurant where my nephew celebrated his confirmation. The food was delicious, too.

guitar & gear: Epiphone Mandobird, Vox ToneLab, Tube Reverb