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.
I was waiting for a review before I was going to order the DVD. I read and laughed and ordered the movie.
Guys Who Cut Their Own Hair | Blog | Detail | I See saId THe blInd Man As He reacHed For hIs Hammer And Saw
Eventually I got sleepy and paused the film so I could continue it later with a fresh eye, but I can say without reservation that anyone who has ever thrown a leg over a track bike, or better yet, knows the dizzying sensation of turning left in a pursuit of triumph should absolutely procure of copy of this themselves to bare witness to the originators of the craft.As one who enjoys the abuse of substances, I was taken with the stories of performance enhancing supplements such as a blend of Cognack, sugar water and Ether to aid in the participant’s quest for domination. As a matter of fact, just so I could fully enjoy the experience of the film, I mixed up that very concoction for myself, but before long got distracted and found myself in the corner of my living room attempting to gnaw through a garbage can lid.
At any rate, I whole heartedly recommend any and all lovers of the two wheels and the fixed cog to get this movie if for no other reason than to see first hand where they came from.
Read the whole review here.
Related: Six Days
John Diliberto’s review for amazon.com
Amazon.com: The Scent of Light: Ottmar Liebert + Luna Negra: Music
With one of his two 2008 releases, The Scent of Light, Nouveau Flamenco pioneer Ottmar Liebert opens up his music into horizons that are new, yet also recall his 1993 CD, The Hours Between Night + Day. Like that album, many of the songs here are inspired by Liebert’s travels, and similarly, rather than fiery flamenco, he takes a more introspective path with subtle, spacious arrangements. Ambient music, which he explored in the 1990s on Opium, remains an influence in Liebert’s music. He uses electronics to gently shape the acoustic space around his guitar and band with reverse percussion echoes on “Firelight,” call and response guitars on “The River: Writing in Water,” and a tamboura drone and tabla on the haunting “Candlelight.” Mellotron flutes and reverse guitar bring “Moonlight,” the most arresting melody on the album, to a haunting close as it dissolves into birds and wind. The centerpiece of The Scent of Light is “Silence, No More Longing.” It’s an 11 minute excursion that builds from a solo flamenco alap to multi-tracked guitars adding ambient electronics, bass, percussion, and finally unleashing a quiet electric storm from guitarist Stephen Duros. Like the album, it takes you from a world of interior ruminations to exterior vistas.
– John Diliberto
The Scent of Light-Echoes August CD of the Month
The music on The Scent of Light builds slowly, each piece carving out a contemplative space until before you know it, the dynamic has completely changed. A centerpiece of the album is “Silence, No More Longing.†It’s an 11 minute excursion that builds from solo guitar, to multi-tracked guitars adding ambient electronics, bass, percussion, and finally unleashing a quiet electric storm from guitarist Stephen Duros.
John Diliberto takes a look at “Scent of Light” against my whole body of work.
You can read the whole piece here and listen to an audio version here. I love the ending of the audio-version!!
Recordnet.com: Instrumental storytelling drives the music of Ottmar Liebert
“I’m not really looking for continuity,” Liebert said of Luna Negra. “I enjoy the different personnel shifts and the music they bring. It keeps me insistent (((I think I said interested, but we talked via mobile))) because each time (there are new members) the music has to be adjusted and played differently. The fans get a new interpretation of it every time.”Liebert’s sound has long given record store owners (or iTunes programmers) fits over where to stock his music. A fusion of world beat, flamenco, jazz, new age and classical, it stubbornly refuses to settle into just one suitable category.
You can read the rest here. Thanks for the interview and the cover!
