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SOLO DOBROMANN
A guitar, weeping softly. A man, holding the guitar like a child, soothingly whispering into its ear, singing a lullaby. No, the guitar won't sleep. It is coughing. It is spitting. Convulsed, it starts twitching and bawling. The man has quite a hard job, seizing it, even beating, drumming, thrashing. Again the guitar is weeping, this time it is weeping out loud.
Karl Ritter beats his guitar, because he wants to hear everything that lives in its belly. No, he wants to have it. He wants to own the beautiful and the ugly tones, dissect them, reassemble them. The blues is his starting-point, he tries the slide guitar, makes foreign, nonresident tones laterally invade familiar sounds, mixes light and shade, demonstrates kinds of music that orbit around the blues like moons, showing the shade, showing the light, showing the power, showing the weakness of his guitar.
"Dobromann" is a power pack, guitarwise, solidly tied up on the foundations of the blues. This pack, if necessary, can be converted into an airship. Which is when Karl Ritter plays the guitar from bird's-eye view.
Christian Seiler (transl.)
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