What are some good Brazilian band singers



sound7, 09/05/2007

Werner Hucks - A guitarist on a (string) journey

I am an avowed piano lover. The sound of a beautiful piano ballad makes me dream. A guitar piece has never managed that. Until I met this man.

The instrument, which is used as a Schrummel accompaniment in the group of youngsters, competes with the piano. At least when he's at work: Werner Hucks ...

He is a concert guitarist, studio musician, composer, accompanist, workshop leader and nationwide first graduate music teacher for the jazz guitar subject. Above all, however, he is a thoroughbred professional who does what he loves with passion. Werner Hucks has been playing guitar for over 25 years, giving more than 2,500 concerts, appearing in over 1,000 musical shows, appearing on radio and television and recording several hundred titles as a studio musician.

In 2006 he released his thirteenth record called »Saiten-Reise«, as well as a brand new CD in 2007, which he produced together with Frank Röcher and Werner Hoffmann. The record with texts by Paul Gerhardt is called »Breit aus die Flügel both«.

Reason enough to look again at what the guitar virtuoso is up to. Lo and behold - he traveled to Brazil.

Werner, you traveled to Brazil with your guitar this year. What did you do there?

I was a participant in a seminar for Brazilian guitar given by guitarist Ahmed El-Salamouny, who lives in Munich. Of course, I also took the opportunity to get to know this wonderful country a little.

As a participant? Was there actually something that you still learned? After all, you've been playing the guitar for thirty years!

Yes, because guitarists in Brazil naturally play Brazilian music authentically. Ahmed is an absolute expert in this area through his many contacts to Brazilian musicians, who can give valuable impulses to professionals and amateur guitarists with great attention to detail and a sense for the essentials. So I was able to learn a lot directly from Ahmed, but of course also from the many concerts and places where we experienced music live in Brazil.

How long have you been there?

A total of 17 days. In the first week we were in Imbassai. This is about 100 kilometers north of Salvador de Bahia, right on the coast, where we had the actual workshop. Then we spent five days in Salvador and five days in Rio.

What was it about this country that particularly fascinated you?

With the people, the mentality of the Brazilians. Even on the flight from Frankfurt to Salvador, it was fun to be with the Brazilians. They're polite, friendly, and loads of wit. I actually sat next to a samba dancer on the outward flight. That was really a great start.

In the country itself, the incredible landscapes, the diversity of the ethnic groups and the way in which the black population - in contrast to the Afro-Americans - managed to maintain their roots.

In Brazil there are still ancient African traditions that have survived. Of course, this has to do with the fact that Salvador de Bahia was the very largest "transshipment point" for slaves. There were around 3-5 million black Africans who came to South America via Salvador. In all of North America we are talking about 500,000 slaves (!) Who came directly from Africa.

And what impressed you the most musically?

Actually the same thing I have just performed, because in Brazil almost everything finds musical expression very quickly. The variety of rhythms and styles, the romance of the melodies and the richness of the harmonies are unique in this way and I was very touched.

Then I had the impression that a new music scene was emerging in Brazil (similar to the Christian music scene in the 80s) with its own protagonists, trendy cafés, record companies, festivals.

There was an almost noticeably tingling atmosphere in the clubs in Rio, where the musicians, by the way, kept visiting each other at their concerts. The musicians didn't play anything cooked but were extremely creative and open to new impulses. That was very strong!

That reminded me of the pioneering years of the Christian scene and the beginnings of studying jazz in Cologne.

Would you share a special experience from this trip with us?

Yes gladly. Even before the trip, I had decided to play the song of the same name by Antonio Carlos Jobim in front of the Christ figure in Rio de Janeiro, i.e. on the Corcovado. I've known the melody for many years and I wanted to experience it in the country where it was created. It was a dream of mine that came true.

And another picture that I will never forget: a band by Paulo Becker was playing in a small club. As is so often the case, some people started dancing to the music, and when good Brazilian dancers dance, that's a very different thing than what you see in our jazz clubs when people shake a little.

During a really "hot" bass solo, a dialogue developed between a dancer and the bass player. She imitated every nuance of his solo with movements and thus inspired him to new ideas. It was an absolutely magical ten minutes. It's the way people in Brazil treat music that I really liked. They don't play their jobs, they live the music

And was there something that shook you very much? Something you didn't expect?

The poverty and living conditions in some areas of the favelas. It is the case that in the favelas in houses that are almost collapsing, people sit at their laptops or use their cell phones. This is not a contradiction in Brazil. But there are also these very poor areas where you get a lump in your throat when you see how people live.

And now back home. What projects are you currently working on?

I mainly deal with my solo program. At the moment I'm also on the road with Werner Hoffmann and a very good Paul Gerhardt program. I also rehearse with some musicians for one or two duo concerts (trumpet, percussion, vocals). But I don't want to reveal too much about that yet.

How many concerts are you playing at the moment?

This year there will have been around fifty events so far. Twenty of them were “typical concerts”, the other appearances were integrated into events with different programs

Honestly, what is your favorite venue?

A nice, well-lit room (preferably with candlelight) that is well filled with 100-200 people and has good acoustics.

What are your dreams and goals?

At the moment I am living my dream to be able to live with and from my music. Hopefully I can do the same in the next few years. One of my goals is to get on with my instrument.

What role does Christian faith play in your personal life?

A big! But I don't carry him and my biography in front of me in a striking way, instead I see many areas of my religious life as my private affairs.

What does the reader definitely need to know about you?

I love the sound of vibrating strings.

Werner, thank you very much for your time. I am looking forward to hopefully being able to hold a new record from you in my hands again soon.

The Intvervie resulted in:
Jule Pfüller



eXact! February / March 2007

A Siegerland on a string journey
Werner Hucks - for years a constant for jazzy-classical guitar music

eXact !: Hello Werner, nice that you take the time for our interview! Apparently it was quiet around you on the CD market for a long time, now you're coming back with two releases. It is currently "in" that artists who were active in the late 80s are now performing again. Do you use the favor of the "retro wave" or what made you go back to the studio?

Werner Hucks: Well, there is a lot to say about that: there are two solo productions of mine from the last two years, "Fascination Guitar" 2004 and "Saiten-Reise" 2006 as well as a completely new CD that we together with Frank Röcher and Werner Hoffmann produced: "Breit aus die Flügel both" with texts by Paul Gerhardt. Before that, I was active in the musical scene for a few years, where I also played on one or the other record. So: I see more of a continuous work in the sound carrier area only with different accents.

The fact that I played a lot in the 80s and, of course, especially in the 90s, has to do with the state of our Christian music scene at the time and also with my age. These were the years in which many concerts were possible and I still enjoyed being on the road for up to 250 days a year. It's different today.

Producing a CD is always a privilege and a very good opportunity to define your artistic point of view and to go aggressively "on the market" again. Unfortunately, I can already say that guitar music is less in demand than in all the years I've made music. My publisher was only able to sell a few hundred copies of my new CD. My other guitar colleagues are no better either. Hopefully a beautiful art form will not die out there. If you don't write "Worship" or "Praise" on your CDs, you have no chance of reasonable sales figures in our area, especially not as an instrumentalist.

eXact !: That would be a shame, of course, because then something would really disappear that has always had its place in the Christian music scene. If you say that you were on tour more before than you are today and that you no longer have your commitment to the musical, what is your musical planning going on?

Werner Hucks: As far as the freelance sector is concerned, I have no illusions. He's on the ground right now. I think it will take another three to four years for him to recover, if at all. I am still happy about every opportunity to give my guitar concerts. But the demand is approaching zero. The time when I accompanied second-class singers and questionable personalities in our "scene" is over. I don't need bad music anymore.

eXact !: That sounds like a lot of frustration looking back on the "golden 90s", especially since some of your former companions still have their position in the Christian scene. Would there be someone for you who would be tempted to be on stage together? Do you still have role models or greats in the Christian music scene that you "admire"?

Werner Hucks: Frustration is not the determining element. I am happy and grateful for the years in which I have been on the road so intensely. As far as "singer-songwriters" are concerned: measured by generally applicable parameters such as rhythm, intonation or technique on the accompanying instrument, the songwriter most famous in our scene is certainly not a good musician, even if his songs are still heard. There are other reasons.

I do not associate terms such as role models, greats or admiration with the Christian scene. Musicians like Keith Jarrett, Al Jarreau, Ray Charles, Stevie Wonder or Diana Krall are human and musical role models for me whose music also touches me. To be on stage with them, I would fly around the world.

eXact !: You just said that at the moment you can only satisfy a demand with the terms "praise" or "worship". I agree with you to a certain extent, but I also notice that a lot is happening again in the field of Christian rock music - even very demanding ones. As a studied jazz musician, this direction probably blows through your ears as a horror. How do you currently observe the Christian music scene from your point of view? Does it still have the same expressiveness in your eyes as it was in the 80s / 90s?

Werner Hucks: I like all kinds of good music, it can be hard rock, metal, ska, samba, classical or of course rock. But when I notice that the people on stage are not wholeheartedly involved and have not learned their craft properly, I don't enjoy the music.

Regarding your second question: no, it no longer has this expressiveness in my opinion and has let it be taken away by the watering down in musical areas for which church musicians are actually responsible (see praise and worship). In my opinion, this kind of music doesn't belong on a bigger stage, it's a private matter. Our musicians no longer have the status of thought leaders or critical co-thinkers, of culturally enriching and artistically active people at the top of their list of priorities. Maybe it will come again !?

eXact !: Back to your two new publications. You can tell from the two discs that you stayed true to your style. That you have developed further can also be heard. To what extent has your time in musicals influenced "songwriting" (is that what you call it in instrumental music?)? And wouldn't you even feel like recording a CD with a whole orchestra - if it were affordable?

Werner Hucks: Thank you very much and: that's called composing! Yes, I think that a certain style has developed over the years: certain chord progressions, harmonies, melodies and rhythms that I like very much and that are typical for me. But the musical did not have any influence on my compositions.

Well and about your question with the orchestra: at the moment, that's not important to me. About 13 years ago I recorded a CD with an orchestra. That was a very good experience: But right now I like guitar solo the most.

eXact !: I still remember your appearance at the first PILA Pop & Gospel Festival, where you played a song that you wrote for Siegerlanders who slipped past your living room window in the rain, depressed. How do you get your ideas?

Werner Hucks: Landscapes speak to me a lot and often inspire me. If I make a strong impression, I try to reproduce the mood that I felt when I saw the landscape. In that sense, I am a romantic. Often, however, it is also human encounters that leave their inspiring traces.

eXact !: How many guitars do you own and do you associate one of them with a special event?

Werner Hucks: At the moment there are 14 and almost everyone has an unusual story. When I looked over my guitar shelf, my mind got stuck with my Gretsch Country Gentleman, who I had bought when I was 17 and who was at a lot of concerts with the band "Aufwind". Back then it took me months to get the money for this guitar. But it was worth it!

eXact !: If someone made you the offer to put together your dream band with which you could go on tour, who would be there?

Werner Hucks: Charlie Mariano on saxophone, Ralf Gustke on drums, Hemmi Jost on bass, Mario Argandonja on percussions and Lyle Mays (from the Pat Metheny Band) on keyboards.

eXact !: Your latest work is a kind of "audio book CD" with Werner Hoffmann. Just in time for the Paul Gerhardt Year you started the production "Breit aus die Flügel both". Werner Hoffmann reads selected Paul Gerhardt lyrics and you play guitar arrangements. How did you come up with the idea?

Werner Hucks: I wanted to publish an audio book beforehand in collaboration with Gerth Medien. But there wasn't much interest on their part. When Werner Hoffmann asked me if I wanted to work on this project, I was very happy to be able to contribute my contribution to the Paul Gerhard year.

eXact !: Your guitar arrangements for the Paul Gerhardt songs range from classically worn to lively and jazzy. Aren't you afraid that these fragile compositions will "drown" when you listen to the texts spoken in between?

Werner Hucks: I haven't. It is a very beautiful art form to underlay texts with music. And with Werner Hoffmann it was really a pleasure to create moods for the lyrics in the studio.

eXact !: It is interesting that you recorded the CD in the studio at the same time, so the whole thing almost has a live character. For the Paul Gerhardt year you have been on tour together with the program. What can the visitor of such an event expect?

Werner Hucks: We will draw on the CD's repertoire, but we will certainly also let ourselves drift artistically and improvise within the framework of this art form.

eXact !: Can we look forward to further publications from you?

Werner Hucks: Nothing new is planned at the moment, but I think I'll be going back to the studio in 2-3 years.

eXact !: Thanks for the interview and hopefully we'll hear and see you for a while longer. God with you, stay protected!

Friedemann Schmidt / Volker Gruch



March 2006

Acoustically, imaginatively and lively ...

Werner Hucks has been a guitarist for over 25 years, has given more than 2,500 concerts and has appeared in over 1,000 musical shows. He also appeared on radio and television.

One thing that people who work with you appreciate is that you feel at home in multiple musical styles. Is there currently a genre - or a favorite live program that you are currently favoring? If yes why?

Well, after having played in some very large ensembles in recent years, I am particularly enjoying every single guitar concert at the moment. For me it is a great art form to span a musical arc from classical to more modern styles with just one instrument and to offer good entertainment at the same time. So: guitar solo!

Does Werner Hucks have a favorite song? If so, which?

Yes! "Narrow Daylight" by Diana Krall from the CD "The Girl In The Other Room".

The title of your new CD "Saiten-Reise" makes you feel a little wanderlust. Is there a trip that has particularly inspired you - maybe even for a song?

A few years ago I was on a catamaran with two friends in the Caribbean and from this trip I brought by far the most new melodies and compositions with me.

If I had the opportunity right now, I would love to fly to the western US and do a tour with a Harley-Davidson.

The advertising text for your CD says that you are motivated and inspired by your belief in God and the beneficial effects of the vibrating guitar strings. What exactly do you mean when you say that belief inspires you?

Inspired in the sense of: being able to fly out of my point of view and see life again and again from a different perspective. In our case as Christians from the perspective that we are wanted and loved by God, who have been given life and should use it.

You played in the famous musical "Les Miserables". A very impressive story about love and suffering in social grievances that were made worse by the French Revolution. How did you personally experience these shows? Does one lose interest in the plot after having played the same performance several dozen times?

I enjoyed the shows even though they were 3.5 hours long with a break. That meant that we as an orchestra had our instrument in our hands for seven hours on Saturdays and Sundays and made music at a very high level. It's very, very exhausting! But for this musical it was worth the effort. My last musical director once said: "Every time I've conducted a show 'Les Miserables', I get the impression that the world has just got a little better".

In contrast to many other musicals, the content aspect of 'Les Miserables' was decisive for the whole atmosphere in the theater. It wasn't just a job for any of us.

How many guitars does Werner Hucks have?


Thank you very much for the conversation.

The interview conducted:
Wencke Timm



sound7.de, June 22, 2004


"I had seen so many human and business abysses in the Christian scene"

It has been a few years since Werner Hucks was exclusively at home on »Christian stages«. In the meantime he got to know the "big wide world" of music and had some success. What moved him years ago to turn his back on the "Christian music scene", why he is now "coming back" and what his goals are - SOUND7.DE editor David Brunner talked to the virtuoso guitarist about this.

You are something of a "veteran" of the Christian music scene, then you have been on the road a lot in the secular area, and now you have a new production in the Christian area. Why the "return"?

Well, the age ... I have really enjoyed working in the musical scene for the past seven years. In the meantime, the working conditions, the remuneration and, above all, the content of the musicals are no longer what I found in »Les Miserables«. It was time to get back to basics and do what I love most: guitar concerts!

They also take place in the secular area. But that I can work in the Christian area and have found a label there that will take care of my CD is of course a special joy for me as a believer.

In your opinion, what has changed in the Christian area from when you were still at PILA to this day?

There are many more performers who strive for the no longer available event options. That makes it harder. The labels and publishers are out of the pirate age. Today, as interpreters, we get roughly the royalties and GEMA fees that we are entitled to. That was "unusual" in the past.

But there are also a higher number of dream dancers who can barely hold onto a guitar and think that the "Lord" has shown them that they should play an important role in the music scene. Unfortunately, this often does not go hand in hand with practicing, learning and working, which as a musician is a must.

What was the decisive factor for you that at that time you devoted yourself more to the "normal" music field?

Two reasons: Back then (end of 1996) I could no longer bear to be scrutinized ten to 20 times a week for up to two hours a week by unknown people. It was time for a concert break - and secondly, I had experienced so many human and business abysses in the Christian scene (in this area we definitely have a Vatican format) that I no longer wanted to be identified with this scene.

How did it come about that you were strong in the musical scene?

Well, I played my audition for the musical "Les Miserables" (a kind of job interview), won it and thus had my "ticket" to this scene. Everything else has evolved from there.

With »Les Miserables« and »Elisabeth« you not only thrilled the audience, but also the composers who specially wrote the score. Do you feel proud, or is it easy to "stay on the carpet"?

The score was only rewritten by Elisabeth. The compliments of the two composers are something very, very special and very rare in the musical scene.

Of course I was proud and happy because I love my job and always try to do my best. Acceptance and respect at such a high level, which was completely new territory for me, did very good. I got the impression that I was valued for my performance; In the Christian area, the performance peaks are not particularly noticed and it is much more important how you announce your music.

I think staying “on the carpet” is part of my personality and years of experience in the music business have certainly helped me.

Your artistic work is much more diverse. You are on the way to different programs with different artists. What is a »red thread« running through your various activities for you?

My great love for the classical guitar (read nylon strings). I love this slightly romantic, melancholy sound that actually fits an enormously wide stylistic spectrum.

Is there anything about it that you particularly enjoy?

To make music with good colleagues!

You give a lot of guitar lessons: What do you think is very important for beginners and what should be considered in order to become even better, even if you already have a certain class? Do you have any tips?

Yes! The instrument should ideally become part of everyday life and thus a natural part of the student's life. 30-60 minutes a day is not enough. You always have to keep your eyes and ears open for what has to do with the instrument.

New tracks on the radio, going to concerts, listening out, copying and exchanging ideas with others is a lot of fun and helps you to »learn holistically«. That makes all the difference. And of course there is no substitute for PRACTICE !!!

Are there artists or bands with whom you would like to record a CD or play a tour?

Oh yeah! Norah Jones, Diana Krall, Sting, Rickie Lee Jones, Tom Waits, Chris Rea ...

Do you have any musical role models yourself?

In the moment not.

What does the professional musician Werner Hucks do to switch off and relax?

Ride a motorcycle, read, do sports, cook or go to the cinema.

The songs of your new production "Fascination Guitar" reflect a lot of thoughts and impressions of you. On the other hand, you are referred to as a "mischievous guitar virtuoso". How does this fit together or do they complement each other?

I have a kind of humor that I love to incorporate into my concerts. This humorous or mischievous level is not one of the deeper levels of perception, but it helps a lot in concerts to prepare for rich music or content. A person who laughed with you also listens to you!

Both your own songs and arrangements for well-known composers can be found on “Fascination Guitar”. How did this selection come about?

The six original compositions were created in the last few years and have been waiting, so to speak, to be recorded. The four chorales are songs that have been with me for years and mean a lot to me.

How does your belief play a role in your music? That doesn't seem to be that easy, since you mostly make purely instrumental music.

He plays a role in the selection of events and activities, in putting together my repertoire and in choosing the colleagues I work with. I also believe in the spiritual or spiritual dimension of music and am convinced that a great deal of what is lived is communicated in the music of the musician.

What kind of events and how can municipalities or other organizers book you?

Church services, concerts in community rooms, cafes, festivals, mixed events such as evangelism, lectures, celebrations ... The best way to book is by phone: 0271/20471 or email [email protected]

What can we expect from you in the near future? What are your plans?

I want to play mostly solo again. Maybe there is a tour with Danny Plett and I already have new ideas for a follow-up production.

Thank you for the interview.

The interview conducted:
David Brunner



eXact, 01-02 / 2004
Portrait + interview

Werner is back in town

After seven years of musicals again with the guitar on stage we're talking about Werner Hucks. His last CD with guitar music was released by Pila in 1997. Then followed seven years in the musical business, but now he's back on stage with his guitar.

Werner Huck is a concert guitarist, composer, studio musician, workshop leader and - the nationwide first graduate music teacher for jazz guitar (1986 graduated with top marks at the Cologne University of Music with Eddy Maron). Above all, however, he is a thoroughbred professional who does what he loves with passion. Werner Hucks has been a musician for over 25 years, has participated in around 2500 concerts and 1000 musical shows, has had a number of radio and television recordings and has recorded several hundred titles as a studio musician.

Werner Hucks is at home in a wide variety of styles: classical, jazz, musical and chamber music. His solo concerts are now his regular platform again. Werner Hucks' program “From Bach to Ellington” was also heard internationally, including in the USA, South Africa, Scandinavia, the Benelux countries, Greece and Hungary.

The musical range of the musician, who was born in Duisburg in 1962 and lives in Siegen, is also reflected in his productions, which he has since published. In addition to the jazz-pop-oriented albums “Relaxed”, “Midnite Blue”, “Dreamtime” and Romantic Guitar ”, the series“ Classic Guitar ”with its sensitive interpretations of classical guitar playing met with an enthusiastic audience.

As already mentioned, Werner Hucks has also been heavily involved in the musical scene over the past seven years. At the music club “Les Miserables” (Duisburg 1996-1999) he was the first line-up on the guitar from the premiere to the last show, recorded the German CD and was explicitly praised by the composer Michel Schönberg: “Of the many CD recordings (approx . 40 worldwide) this is the first and only time the guitar is the way I always wanted it to be! ”. Werner Hucks played both the premiere and the CD recording of the musical "Elisabeth" in Essen (premiere in March 2001) and impressed the composer Sylvester Levay so much that he later rewrote the score for several titles to include the guitar of To emphasize Werner Hucks more. After years of success he is now back on stage, almost out of the orchestra pit

In the fall, the recordings for his new record ran. It will be out in February and not all titles have been finalized at the time of going to press. Werner Hucks could already say this much: “It's acoustic guitar music with not a single track coming from the computer. It's all handcrafted, or as the saying goes 'unplugged' ”. He got support with the production e.g. from Ralf Gustke on drums and percussions. Helmut Jost worked as a producer and bassist and the sound engineer Frank Röcher also gave, as Werner Hucks said, “a huge input”. In part, the eXact editorial team was also in the city. Bonn, recorded by Klaus Genuit in the Hansa-Haus studio. Here, among other things, the chorale "Jesu remain my joy" was rearranged with ten (!) Guitars. One can be curious. But now let's let the artists have their say.

Tell us something about your time in the musical field! What are your experiences and impressions?

The musical scene is a dazzling world with wonderful original people, a lot of enthusiasm and incredibly hard work. This summer, after four years of “Les Miserables” and 2.5 years of “Elisabeth”, I said goodbye to this scene despite two follow-up offers in Essen and Berlin. In Berlin in the Theater des Westens, where “Les Miserables” was played again, I was flown in as guitar supervisor and was able to show a wonderful colleague how I had done the guitar part in Duisburg. I am very happy about the last few years and the sometimes happy encounters in this scene.

But why do you want to go back on stage now?

I am now again urgent to sit with my guitar directly in front of an audience to whom I would like to convey what is written in 1 Samuel 16, verse 16: this instrument is good for you! It relaxes you, helps you to clear your head and is also romantic with a touch of melancholy.

Isn't the musical much more exciting?

There is so much that you can experience as a guitarist! Playing in a band, singing and choir accompaniment, studio, sessions, lessons, seminars and the high art of solo playing. Over the past 20 years, these solo appearances along with guitar lessons have been the common thread that has run through my everyday life as a musician. I was lucky that my kind of music can also be integrated very well into larger festivals. For example, I was able to perform in Norway, Sweden, Hungary, Greece, Spain, France and even twice in the USA.

Wow, I didn't even know! That sounds very interesting! Which performances left the most lasting impression?

Of the wonderful trips abroad, my three stays in South Africa (Swaziland and Namibia) clearly left the strongest impressions. I was there before the so-called "Wende" and experienced this country in a tense atmosphere. In Soweta I was probably the first white man to play for blacks there and I taught at the university in Durban, for example. At the time, jazz music was, so to speak, in the air: the music went well with the efforts of the musicians there to find a common language that worked across all cultural boundaries.And so there was a whole series of jazz concerts with musicians of various origins and skin colors. Yes, that's how jazz music was meant and that's how we, as Christians and musicians, were able to make cultural policy in this incredibly beautiful country.

A question for those who may not know you from the younger generation: Do your CDs also have jazz influences?

Over the years I have tried again and again to take good jazz musicians into our Christian music world with my CD productions in order to inspire the listeners for the beauty of this music genre: Charlie Mariano, Jiggs Whigham, Lee Konitz and Ack van Rooyen are giants in the jazz scene and it was an honor and a pleasure to be able to make music with them.

Which artists did you work with in the years before your musical career?

In addition to these encounters in the field of jazz, I have given concerts with the singers Jan Vering and Clemens Bittlinger for many years. With Jan, I was fascinated by his narrative talent and his extremely sensitive feeling for the audience. In terms of dealing with the audience, you could learn something in every concert: Thank you, Jan!

As a musician and Christian, is there a favorite passage in the Bible for you?

Yes: Psalm 108, verses 1-3. “A song of David. I look to the future with confidence, my God, that's why I want to sing and thank you, Lord! Take courage, my heart! Wake up! Harp and Zither, wake up! I want to greet the new day with my song. "

The eXact thanks you for the personal insight into your life.

The interview conducted:
Markus Roll