Reviewed by All-About-Jazz:
Ottmar Liebert: Waiting n Swan
This is the music of Bob Marley done with grace and finesse—with all the pomp and panache that Liebert is acknowledged for—and the proper respect and integrity it deserves.
The stage at the Lensic Theater on 8. October:
We had a great time performing for a sold-out audience here in Santa Fe. Thanks to everyone who came and supported a good cause. I was most impressed by the fellow who drove all the way from Houston to experience the concert. :-)
CDs of the new album arrived the day before the concert and so we brought some to the venue to sell. Since Marita: Shadows + Storms in 1989, this is, I think, the first time that an album of mine premiered on Santa Fe radio – last Wednesday at KBAC Radio Free Santa Fe – and was first sold in Santa Fe. That makes me smile.
I updated the webpage for Waiting n Swan today. It now contains previews for all of the songs. These previews are good quality and are in stereo, but are limited to one minute each. I will add links to iTunes (download), Amazon (CD and download) and HDTracks (high definition download) as I find them – the official release date is Friday 10/23. Unfortunately the music will NOT be available from our ListeningLounge because of the licensing process involved. We will, however, sell the CD at our concerts.
We are in San Francisco this weekend, for six performances at Yoshi’s. This afternoon I will also do a solo performance at the Fillmore Jazz Festival – at 2PM on the Fillmore street at Sutter street stage.
I have been watching Houman Orei play the traditional Persian Tonbak drum with us, a gorgeous instrument carved from a solid piece of Walnut wood. It has a lovely sound, darker than the bright Darbuka, which is also called Dumbek. The playing technique of the Tonbak involves mostly finger slapping, compared to, say, the palm slapping of a conga or djembe. These finger techniques are exactly the same as rasgueados, the strumming technique used in flamenco guitar music. Since the Tonbak is a very old Persian instrument, it seems likely that Moorish musicians in Spain played those, or similar drums. It seems logical to me that guitarists observed these drum techniques and copied them to enhance their rhythmic playing, especially in view of accompanying dancers.
Had to stay at an airport hotel in Newark on Sunday, because our flight was canceled. Weather was the reason given. Arrived home on Monday evening. Glad to have some time in Santa Fe now.
Flamenco guitars sound better at this altitude, about 7,500 feet, and low humidity, 20-40%. I have written that before, but it always becomes apparent when I return here.
