York PA + Rhythm Guitars

02004-09-13 | Uncategorized | 6 comments

Just concluded a phone interview with Peter from the York Daily newspaper. We had a nice chat about everything. I told Peter that I want STUDIO and LIVE to be two very different entities. LIVE is not supposed to sound like STUDIO. And I want to make full use of the studio’s potential, instead of setting up and playing as if we were on stage….

And, let’s face it, I am my own favorite rhythm guitarist. I have worked with maybe half a dozen guitarists in Luna Negra over the last decade – fine players all, but none of them plays rhythm the way I do. I am not claiming that I do it better, just that it is different and that I like my own playing better. Hence I need to overdub, PERIOD. On all of my 20-odd recordings I have always played the rhythm guitar parts for that very reason.


  1. Carolynn

    It’s kinda like when singers sing their own back-up vocals. They know exactly what they want and how it should sound. Nothing wrong with that. : )

    I think we all appreciate a guitarist (OL) who knows what he (OL) wants and how it should sound. : ) I know I do. And I’m always facinated when I listen to a CD like La Semana and realize that all of the guitar parts have been played by OL!!

  2. Matt Callahan

    Surprise, surpise. I’m in total agreement with Carolynn. I do like the guitar work Eric Schermerhorn has contributed (LAVA is awesome) but this is your music and I like when you play it. Its amazing to listen to In the Arms of Love and realize that all the guitar tracks are you, that all those musical textures are from the same source.

  3. Panj

    You are the BEST…period!…:-)))

  4. Carol

    I’m happy you do it just the way you do. It’s just right. It’s incredible too, the way you and Jon seem to be able to be a part of each other.

  5. Greg Hale

    Yes! I absolutely agree with you on studio as compared to live. Let’s face it…in the studio with all the digital things, one can really do just about whatever they want to with a song. Live has to be different especially if pieces are being performed with flamenco elements. Actually, every performance must inherently be it’s own and born of the moment; such as with the vocal performances in traditional flamenco where the singer sings about what they feel at that exact time. This being in the NOW is really what attracted me to playing flamenco and NF styles and incorporating them into the music that I write…for me it is freedom of musical expression.

  6. Tony

    Mood – psyched for Ottmar’s visit to NYC!

    Play that Funky Music (yourself)
    You must absolutely take ownership over your own rhythm methods (whether you are Catholic or not!). I think it would be disappointing if you didn’t WANT to do it yourself. If music were simply formulas of notes/sounds strung together, all the Canton Becker wanna-be’s – would be the top musicians – NOT.

    Concerts vs. Studio
    It is amazing how little improvisation or deviation from studio recordings one hears at concerts. I think it is a conundrum. Musicians may lack the creativity or the courage to try variations on an audience for fear of failure or rejection. The audience is equally, if not more guilty for not being open to the non-studio versions of their favorite songs. When my friends ask me what to expect at an Ottmar concert, I try to get them to relate to being swept away by the feeling and passion of it and that as the interpreter or listener, they are just as responsible for making it happen (like an orgasm). It really pisses me off when I hear the casual fan say Ottmar is “nice background music.” To me that means that they just don’t get it (and they probably have poor orgasms too!) – Sorry for the analogy – lol.


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