POP MUSIC REVIEW : Allure Gives Way to Tedium

IRVINE â€”  Ottmar Liebert’s music, like the guitarist himself, is a cultural hybrid. Born in Germany of a Hungarian mother and a Chinese-German father, Liebert combines Latin rhythms, Flamenco stylings and Gypsy folk moods reminiscent of Django Reinhardt into a sound that has made his albums popular on Wave-format radio stations and has taken them to lofty places on New Age charts.

But a full evening of Liebert may be too much of a good thing. Appearing Friday at South Coast Community Church Auditorium with his band Luna Negra--bassist John Gagan, percussionist Dave Bryant and guest saxophonist Steve Marsh--Liebert worked a long program of tunes, all unannounced, from his “Nouveau Flamenco� and more recent “Borrasca� recordings that was hypnotic at best, tiresome at worst.

All the excitement seemed to come early in the show. As things progressed, and tunes gave way to others much like those that preceded them, one couldn’t help but hope for some variety.

There’s no doubt that Liebert is a masterful technician in the style of Paco De Lucia. He opened the show solo with the kind of Spanish-tinged classical figure that Laurindo Almeida has utilized for years, alternating strong, rhythmic chords with bracing, single-note runs while occasionally adding percussive depth with slaps at the box of his instrument.

With the trio, Liebert continued to be at the center of the action, even when bassist Gagan was stating melodies or when saxophonist Marsh took solos.

Gagan played to the softer side of his electric instrument, using clean, resonant tones that stirred recollections of the late Jaco Pastorius, but without the flash or fast-paced fingering on which Pastorius staked his brief career.

Considered accompaniment and lyrical statements, often played in tandem with Liebert, were Gagan’s thing, and he remained tastefully understated throughout the program.

Bryant’s trap set played a secondary role to his conga, bongos and a host of blocks, bells, cymbals and shakers. Though his relentless mix of percussive play kept those tunes that relied on repetitious riffing from becoming completely tedious, he seldom applied the kind of full-bodied backbeat that some of the simpler material badly needed.

Liebert’s insistence on staying upfront in these tunes, even in accompaniment, gave the rhythm a harmonic thinness despite Bryant’s inventive mix. A second rhythm guitarist, or maybe a pianist, could have thickened up the mix immensely.

Marsh often seemed like odd man out. His spiraling soprano work seemed more appropriate to the music than his tenor, even though the larger instrument was utilized with quiet reserve. The saxophonist was able to match Liebert’s intensity at times but seldom was able to draw attention away from the guitar.

The title tune from the recent album was greeted with applause from the audience and a rare moment of support from Liebert, as he provided driving rhythm for Bryant’s rippling conga solo, which he underlined with kicks from the bass drum. “La Rosa Negra,� identified as “rhumbasalsa� on the album listing, contrasted a loud, sharp, chordal intro with its softer, steamy melody line.

The guitarist’s challenge now is to bring complexity and depth to his sound, without losing its initial allure.