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 December 1997 · Review · DE
Oberösterreichisches Volksblatt (p. 28): „World Groove Music mitten im Innviertel“
Harald Liehmann
Report from the INNtöne weekend: on the first evening Pepl plays first piano, then drums with the trumpeter Franz Hackl; on the second evening he joins the session of Michel Portal and Stephen Kent with Wolfgang Reisinger and Steve Shehan on piano and guitar.
After that Harry Pepl played, first on piano, then on drums, while Franz Hackl stayed with his trumpet.
Their joy in playing carried over seamlessly to the audience.
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10 December 1997 · Review · DE
Kronen Zeitung (p. 28): „Gemeinsame Jazzsprache“
Chris Thommark
Review of INNtöne in the baroque hall of Zell an der Pram Castle: Alvin Batiste as the integrating figure, Michel Portal as mediator, Franz Hackl accompanying Pepl’s piano impressions on trumpet.
Trumpeter Franz Hackl soulfully accentuated Harry Pepl’s piano impressions
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9 December 1997 · Review · DE
OÖ Nachrichten (culture section): „Wiederholt wechselnde Bündnisse“
Robert Urmann
Review of the INNtöne festival weekend at Zell an der Pram Castle with some 26 musicians in around 14 changing line-ups. Urmann misses a concept but praises the Motus string quartet, the Gospel Harmoniers and Pepl’s playing on piano and drums. According to Urmann, Pepl also created outstanding moments with Michel Portal “as a string player”, that is, on guitar. This is Urmann’s account: the preview in the Wiener Zeitung of Tuesday, 11 November 1997, had written in connection with Pepl’s new CD that he was “not playing guitar but piano”; whether he played guitar at the festival remains open.
The piano and drum playing of the guitarist Harry Pepl attracted attention.
As a string player he created fabulous special moments with Michel Portal, who phrased with a keen sense of sound on bass clarinet and soprano.
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26 February 1996 · Review · DE
Kronen Zeitung (p. 16): „Mythos und Zielpunkte“
Review of two CDs by Günter Meinhart’s STUDIO PERCUSSION graz. Extraplatte 242, with pieces by Pepl, Wolfgang Muthspiel and Armin Pokorn, offers in the reviewer’s words colourful, electronically supported expression; Pepl wrote „albträumerische Filmmusik“ [“nightmarish film music”].
Richly coloured, electronically supported expression with an enormous range
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5 November 1995 · Review · DE
Kronen Zeitung (p. 26): Plattenkritik zu „Abstract Truth - Beginnings“
initials „CT“ (vermutlich Chris Thommark)
Review of the CD “Beginnings” by Abstract Truth (PAO Records, Taufkirchen an der Pram, supported by the state of Upper Austria): music for quiet hours, in which Pepl shapes the two-part melody group and electronically steers his instrument from vibraphone to organ registers.
In the two-part melody group, guitarist Harry Pepl is the defining creative force.
Kürzel CT (vermutlich Chris Thommark)
He controls his instrument electronically, from the vibraphone to the organ register.
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19 August 1995 · Review · DE
Salzburger Nachrichten: „Könnte Jazz sein“ (Neues von Österreichern)
Wolfgang Gratzer
CD column on Werner Pirchner, Harry Pepl and Wolfgang Mitterer. Gratzer recalls a Jeunesse evening by the Jazzzwio, which made it as far as the Montreux Jazz Festival, calls the album “Gegenwind” a collector’s item and reviews Pepl’s roughly 20-minute commissioned work “Anspannen, Überspannen, Abspannen” for STUDIO PERCUSSION graz (Extraplatte 242-2), underlaid with a tape Pepl recorded on MIDI guitar.
were, in their day, attuned to one another in the most original improvising manner
Thus five sound pictures open up whose colourful motion exerts a considerable pull
were back then attuned to each other in the most original improvising way. Their “Gegenwind” album now turns out to be a collector’s item.
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27 May 1994 · Review · DE
Der Standard: „Der Groove-Professor gibt sich recht unberechenbar“
Ljubiša Tošić
Record review of “N.Y.C. Impressure”: the funky rhythm section plays flat out, and after years dominated by play with sound, Pepl’s guitar is again recognisable as a guitar sound, with the MIDI guitar serving only as an atmospheric addition. Tošić hears a groovy affair with a rock-style distorted tone and highly individual phrasing; sound quality very good.
On N.Y.C. Impressure his guitar sound is once again recognisable as such.
Of course his phrasing is once again highly individual, which means: appealing and pleasantly unpredictable.
And so it may well happen that the guitar professor shines with a rock-distorted sound.
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26 May 1994 · Review · DE
Salzburger Nachrichten (p. 8): „Neue Symptome einer Krankheit“ (Das Jazzfestival in Raab ist als „Innviertler Jazzfestival“ wiederauferstanden)
Wolfgang Lamprecht
Review of the first Innviertel jazz festival, which Paul Zauner continued with his own association after the end of the association Kunst und Kultur Raab. Lamprecht highlights Jack DeJohnette, who appeared above all as a pianist and played an intimate duo with Pepl on drums.
as a kindred-spirited improviser on drums in a thrillingly intimate dialogue with the string electronics player and creative sound colourist Harry Pepl
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24 May 1994 · Review · DE
Der Standard (p. 10): „Zwischen Räucherstäbchen-Blues und festlicher Marching-Band-Tarnung“
Ljubiša Tošić
Festival review from Raab with Dr. John, Ray Anderson and the Dirty Dozen Brass Band. Beyond the nostalgic acts, Tošić singles out the live session of Jack DeJohnette (drums and piano) and Harry Pepl.
Drummer and pianist Jack DeJohnette and guitarist Harry Pepl, for instance, gave a live session there.
after all, there were moments of intensity that one would not have wanted to miss on any account
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24 May 1994 · Review · DE
Kronen Zeitung (p. 17): Kurzkritik vom Innviertler Jazzfestival in Raab
initials „CT“ (vermutlich Chris Thommark)
Report from the third day (Sunday, 22 May 1994) of the Innviertel jazz festival in the Rothuberhalle in Raab: Jack DeJohnette spontaneously joins Idris Muhammad’s Afro Beat and later plays a duo with Pepl, who holds dialogues on guitar synthesizer with DeJohnette on piano and drums.
Alternating between piano and drums, he engaged in dialogues with Harry Pepl on guitar synthesizer.
These were sound meditations between expansive and concentrated, in lyrical solitude and orchestral fullness of sound.
Kürzel CT (vermutlich Chris Thommark)
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7 May 1994 · Review · DE
Salzburger Nachrichten: „Verständigungen über den Gartenzaun“ (Jazz-Gitarristen: Harry Pepls Comeback, Ray Cooder, Doctor Blocher, Bill Frisell)
Wolfgang Gratzer
Short review of the new album: the reviewer writes that Pepl, one of the continent’s most individual guitarists, is stepping out of his seclusion with his quartet recorded in New York (Claus Stöttner, Paul Nowinski, Jojo Mayer). Thanks to cleverly pre-planned pieces and compelling solos, the author counts the record among the most exciting things produced in Austria in recent years.
The Viennese Harry Pepl, who counts among the most distinctive guitarists on the continent
is among the most exciting things produced in this country in recent years.
recorded an album which, thanks to its so cleverly conceived tracks, ploughed through with compelling solos, ranks among the most exciting things produced in this country in recent years.
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1994 · Review · DE
Buchkultur (Vienna): Musiktipp „Harry Pepl Quartet: N. Y. C. imPressure“
The Viennese magazine Buchkultur recommends the album “N.Y.C. Impressure” by the Harry Pepl Quartet: recorded after a concert in New York City, it conveys the impressions of the four musicians. The tip appears next to new releases by the Austrian singer-songwriter Hans Söllner and the band Hole.
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1994 · Review · DE
magazine (title not preserved), record review: Harry Pepl Quartet: „N.Y.C. Impressure“
Record review of “N.Y.C. Impressure” (Extraplatte (Vienna independent label) EX 203-2, recorded 6/92 at the Active Recording Studio, New York): according to the review, Pepl, a native of Lower Austria, has been experimenting with the MIDI guitar for years, and his new hobbyhorse is real-time composing. The album is said to reflect the mood, colours and rhythmic density of New York, realised with Claus Stötter, Paul Nowinski and Jojo Mayer. Rating (8).
The Lower Austrian Harry Pepl loves the battle with “Bits and Bytes”.
His latest hobby-horse goes by the name of “real-time-composing”.
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30 May 1993 · Review · DE
Kurier (p. 21): „Raab-mood - eine Suche“
Peter Klimitsch
Mood report from the first day of the Whitsun jazz festival in Raab (Friday, 28, to Sunday, 30 May 1993) with the Gary Bartz Quartet and Horace Parlan. Air Mail played with Jean-Paul Celea (called “Jean-Pierre” in the text) instead of Palle Danielsson on double bass; Pepl is described as „Gitarren-Mastermind“ [“guitar mastermind”].
Airmail, with Jean-Pierre Celea instead of Palle Danielsson on double bass, was devoted to guitar mastermind Harry Pepl.
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9 May 1993 · Review · DE
Kurier (p. 22): „Pepl-Uraufführung beim Artis-Quartett-Zyklus“
Werner Schuster
Concert review of the Artis-Quartett evening in the Brahms Hall, with Brahms’s Piano Quintet and the world premiere of Pepl’s string quartet between Beethoven and Brahms. The critic praises the Artis-Quartett and considers the fragile work too good to serve as an interlude between the great pieces.
his work, hesitantly starting again and again, fragile, conveying grief, is too good for use as a sandwich filler
his hesitant, ever re-beginning, fragile work conveying grief is too good to be a sandwich filling.