Press archive
What was written and broadcast about Harry Pepl: reviews, portraits, interviews and obituaries, with summary and source. The originals are protected by copyright and kept in the archive; we provide them to researchers and the press on request.
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10 February 1989 · Review · PT
Diário de Lisboa: „Músicas alternativas: Guitarras“
Rui Eduardo Paes
One-page round-up review of new guitar records in the arts section of the Lisbon daily, ranging from Henry Kaiser and Sonny Sharrock to Bill Frisell, John Abercrombie and Steve Tibbetts. Under the subheading “Das surpresas aos desrespeitos” (from surprises to disrespect), Rui Eduardo Paes presents, alongside Tibbetts’ “Yr”, Harry Pepl, another surprise guitarist of ECM, the renowned European jazz label, with “Cracked Mirrors” (Herbert Joos on flugelhorn, Jon Christensen on drums). He expressly recommends both records.
But Harry Pepl, another of the house’s surprise guitarists, is also here with “Cracked Mirrors”
his particularities and tightly woven details. Two records not to be passed over.
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17 December 1988 · Review · DE
Eßlinger Zeitung (weekend edition): „Perkussives“ (Joos, Pepl und Oxley)
Christa Wörner
Review of the year-end concert of the series “Jazz in der Dieselstraße” with Herbert Joos, Harry Pepl and Tony Oxley: catchy melodies and folk-song-like passages frame abstract structures, played with and against the electronics. By way of his guitar, Pepl also plays trumpet and piano and manages a drum solo on the guitar; Joos recalls Chet Baker, and Oxley shapes the European character of the music.
European jazz? The trio of Herbert Joos, Harry Pepl and Tony Oxley provided an example of it.
In this way Pepl managed to play a dazzling drum solo on the guitar.
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15 December 1988 · Review · DE
Stuttgarter Zeitung: „Jazz im Zauberspiegel“ (Dieselstraße: Joos-Pepl-Oxley)
lind
Concert review of the trio of Herbert Joos, Harry Pepl and Tony Oxley at the Dieselstraße culture and communication centre in Esslingen. The author begins with critical questions about volume, the playback tape and hidden themes and then describes a bewildering game of free jazz and balladic romanticism, in which the audience accepted Pepl’s guitar synthesiser as an enrichment; he refers to the record “Cracked Mirrors”.
accepted Harry Pepl’s guitar synthesiser as an imaginative enrichment of the sound
in a piece like “Schikaneders Delight” there was also quite definitely a Mozartean cheerfulness at play.