Liebert in New Age Music

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"La Semana" (2004) New Age Liebert, Ottmar, 33rd Street RecordsPersonnel: Ottmar Liebert (flamenco guitar). Recording information: Spiral Subwave Studio, Santa Fe, NM (2003-2004). Photographer: Kelly Anderson. Ottmar Liebert brings to bear a number of traditions on this recording, most notably the time-honored music of Spain. Drawing heavily from flamenco, Liebert creates a body of music that is at once forward-looking yet deeply rooted in the Spanish heritage. LA SEMANA is made up of many elegant compositions and all of them feature the guitar. "Cocteau" is a brooding modal work that invokes the ethos of Spain the best. A pair of guitars dominates this mix; one guitar plays a passionate and dissonant melody while the other coolly provides a static harmony. Overall, the two guitars create wonderful tension and release as Liebert's composition gently unfolds. Another tune, "Echoes of a Caress" combines Flamenco with an overtly synthetic keyboard trumpet and percussion section. What makes this track so creative is that Liebert does not attempt to fool the listener, but rather, he highlights the disparity between the organic guitar and the digital accompaniment. It is this kind of musical judgment that sets Liebert and his band, Luna Negra, apart from many of his contemporaries. Here technology is used to further the art, not to obscure it.

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"Winter Rose" (10/11/2005) International Liebert, Ottmar, 33rd Street RecordsPersonnel: Ottmar Liebert (guitar, flamenco guitar, cajon drums, palmas); Robbie Rothschild (kora, cajon drums); Jon Gagan (saz, keyboards, bass guitar, fretless bass); Ron Wagner (dumbek, tabla). In Spain, flamenco's purist hardliners view Ottmar Liebert the same way they view the Gipsy Kings: as a pop culture bastardization of the real thing -- the real thing being traditionalists like Paco de Luc¡a and Tomatito. But that's a narrow-minded and foolish way of looking at it, because Liebert never claimed to be a flamenco traditionalist. The guitar-playing instrumentalist has been bringing a wide variety of influences to the table -- influences that continue to serve him well on Winter Rose. Recorded from 2003-2005, Winter Rose is Liebert's third Christmas-influenced project; the two previous ones were 1990's Poets & Angels and 2000's Christmas + Santa Fe. But saying that Winter Rose is Christmas-influenced -- at least some of the time -- isn't saying that it is strictly a Christmas album. Liebert puts his spin on a few traditional Christmas songs, including "Away in a Manger" and "O Little Town of Bethlehem." But truth be told, much of Winter Rose is not overtly Christmas-themed -- and the disc's other highlights range from several Liebert originals to a tasteful arrangement of Tchaikovsky's "Le Caf?." The word "tasteful" comes to mind throughout Winter Rose; sure, Liebert can be slick and glossy, but he's tastefully slick and glossy -- tasteful as a guitarist, tasteful as an arranger, tasteful in his ability to combine flamenco elements with everything from European classical to new age, folk, and pop-jazz. This CD is not among Liebert's essential releases, but it is nonetheless a pleasing, worthwhile addition to his catalog -- and while Winter Rose isn't a Christmas album through and through, it is still nice to see Liebert revisiting the Christmas theme on some of the tracks. ~ Alex Henderson

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"Little Wing" (05/22/2001) New Age Liebert, Ottmar, Epic (USA)Ottmar Liebert & Luna Negra: Ottmar Liebert, Jon Gagan, Mark Clark, Michael Chavez, Kanoa Kaluhiwa, Gary Lyons, Eric Schermerhorn, Paul Gonzales, Michael Middleton, Carl Coletti, Ron Wagner, Davo Bryant. Recorded at Spiral Soundwave, Santa Fe, New Mexico. Audio Mixer: Gary Lyons. Recording information: Spiral Subwave, Santa Fe, NM (2000). Photographer: Myriam Santos-Kayda. Arranger: Ottmar Liebert. Since his last album of new material, 1999's Innamorare, Ottmar Liebert has been represented in the record racks by two repackagings of his earlier material, one a reissue of his best-selling debut, Nouveau Flamenco, in which he had a hand, and the other a compilation of his early recordings for Higher Octave Records. Little Wing has the feel of another reissue, even though it is newly recorded. Having reconsidered his first work and, as he makes clear in the liner notes, begun to consider future projects (including solo guitar and synthesizer albums), he seems to have decided to make an album in the style of his popular initial recordings. This approach is clear in the album's original compositions, which again investigate flamenco from a relaxed, Southwestern perspective, and in the four cover songs, all of which present familiar tunes in the guitarist's familiar style. Jimi Hendrix's "Little Wing" has long been a favorite of rock guitarists (notably Derek and the Dominos-era Eric Clapton), who tend to use it as a change-of-pace ballad. Liebert's interpretation is livelier than most, bringing out the buoyancy as well as the beauty of the melody. His version of "The Girl From Ipanema" relaxes the song's usual bossa nova feel but remains appealing. Not surprisingly, his "Paint It Black" is not as urgent or threatening as the Rolling Stones' original, instead emphasizing the song's exotic flavor, complete with the use of a Turkish saz; Brian Jones would approve. Led Zeppelin's "Kashmir" has proven surprisingly versatile over the years, even serving as the basis for a Puff Daddy rap, but Liebert's interpretation brings out aspects not touched on before. Little Wing is likely to appeal to the million-plus fans who bought Nouveau Flamenco, though those who have followed Liebert's stylistic explorations since may feel he's repeating himself. ~ William Ruhlmann

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"La Semana" (2004) New Age Liebert, Ottmar, 33rd Street RecordsPersonnel: Ottmar Liebert (flamenco guitar). Recording information: Spiral Subwave Studio, Santa Fe, NM (2003-2004). Photographer: Kelly Anderson. Ottmar Liebert brings to bear a number of traditions on this recording, most notably the time-honored music of Spain. Drawing heavily from flamenco, Liebert creates a body of music that is at once forward-looking yet deeply rooted in the Spanish heritage. LA SEMANA is made up of many elegant compositions and all of them feature the guitar. "Cocteau" is a brooding modal work that invokes the ethos of Spain the best. A pair of guitars dominates this mix; one guitar plays a passionate and dissonant melody while the other coolly provides a static harmony. Overall, the two guitars create wonderful tension and release as Liebert's composition gently unfolds. Another tune, "Echoes of a Caress" combines Flamenco with an overtly synthetic keyboard trumpet and percussion section. What makes this track so creative is that Liebert does not attempt to fool the listener, but rather, he highlights the disparity between the organic guitar and the digital accompaniment. It is this kind of musical judgment that sets Liebert and his band, Luna Negra, apart from many of his contemporaries. Here technology is used to further the art, not to obscure it.
 
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"La Semana" (2004) New Age Liebert, Ottmar, 33rd Street RecordsPersonnel: Ottmar Liebert (flamenco guitar). Recording information: Spiral Subwave Studio, Santa Fe, NM (2003-2004). Photographer: Kelly Anderson. Ottmar Liebert brings to bear a number of traditions on this recording, most notably the time-honored music of Spain. Drawing heavily from flamenco, Liebert creates a body of music that is at once forward-looking yet deeply rooted in the Spanish heritage. LA SEMANA is made up of many elegant compositions and all of them feature the guitar. "Cocteau" is a brooding modal work that invokes the ethos of Spain the best. A pair of guitars dominates this mix; one guitar plays a passionate and dissonant melody while the other coolly provides a static harmony. Overall, the two guitars create wonderful tension and release as Liebert's composition gently unfolds. Another tune, "Echoes of a Caress" combines Flamenco with an overtly synthetic keyboard trumpet and percussion section. What makes this track so creative is that Liebert does not attempt to fool the listener, but rather, he highlights the disparity between the organic guitar and the digital accompaniment. It is this kind of musical judgment that sets Liebert and his band, Luna Negra, apart from many of his contemporaries. Here technology is used to further the art, not to obscure it.
 
  • product
"La Semana" (2004) New Age Liebert, Ottmar, 33rd Street RecordsPersonnel: Ottmar Liebert (flamenco guitar). Recording information: Spiral Subwave Studio, Santa Fe, NM (2003-2004). Photographer: Kelly Anderson. Ottmar Liebert brings to bear a number of traditions on this recording, most notably the time-honored music of Spain. Drawing heavily from flamenco, Liebert creates a body of music that is at once forward-looking yet deeply rooted in the Spanish heritage. LA SEMANA is made up of many elegant compositions and all of them feature the guitar. "Cocteau" is a brooding modal work that invokes the ethos of Spain the best. A pair of guitars dominates this mix; one guitar plays a passionate and dissonant melody while the other coolly provides a static harmony. Overall, the two guitars create wonderful tension and release as Liebert's composition gently unfolds. Another tune, "Echoes of a Caress" combines Flamenco with an overtly synthetic keyboard trumpet and percussion section. What makes this track so creative is that Liebert does not attempt to fool the listener, but rather, he highlights the disparity between the organic guitar and the digital accompaniment. It is this kind of musical judgment that sets Liebert and his band, Luna Negra, apart from many of his contemporaries. Here technology is used to further the art, not to obscure it.
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