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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13 November 2012 · Review
ECM Reviews (Between Sound and Space: ECM Records and Beyond): „A second look: Pirchner/Pepl/DeJohnette (ECM 1237)“
Tyran Grillo
Reassessment of the 1983 ECM (the renowned European jazz label) album, almost a year after his own critical review of 20 December 2011. After readers objected, Grillo writes, he kept returning to the album and had not initially given it the attention it needed. He now highlights the depth of Pepl's talent, the interplay between Pepl and Pirchner as the core of the trio and Pepl's solos, and calls the record “this curious little gem”; only on the processing of the Ovation guitar does he stand by his first opinion.
I simply did not give this date the attention it deserves.
The depth of Pepl’s talent, now that I’m more familiar with it, is immediately evident in the spaciousness of his evocations.
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20 December 2011 · Review
ECM Reviews (Between Sound and Space: ECM Records and Beyond): „Pirchner/Pepl/DeJohnette: s/t (ECM 1237)“
Tyran Grillo
Mixed review of the 1983 ECM (the renowned European jazz label) album, recorded in June 1982 at Tonstudio Bauer in Ludwigsburg, with Werner Pirchner, Harry Pepl and Jack DeJohnette. The chorus effect of the Ovation guitar and the lack of rapport among the three musicians are criticised; Pepl’s solos and the closing piece “Better Times In Sight” are regarded as strengths. The page shows 10 February 2015 as the date of the update. Almost a year later, on 13 November 2012, Grillo revised his verdict in “A second look”.
When soloing, however, it sounds fantastic
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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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17 August 1988 · Review · FR
Le Monde: „Michel Portal: « Men's land »“
F. M. (wahrscheinlich Francis Marmande)
Record review in Le Monde, the Paris daily, of Michel Portal's Amiens recording “Men's Land” (Label Bleu). The review calls the line-up “particularly well chosen” and lists Jack DeJohnette, Dave Liebman, Mino Cinelu, Harry Pepl and Jean-François Jenny-Clark. It is signed with initials, very probably “F. M.” for Francis Marmande, the paper's jazz critic.
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16 March 1985 · Review
Billboard (US-Musikfachzeitschrift mit den Branchen-Charts, gegründet 1894): Album Reviews, Jazz-Fusion: „Werner Pirchner / Harry Pepl / Jack DeJohnette“ (Recommended)
In its issue of Saturday, 16 March 1985 (vol. 97, no. 11), Billboard, the US music trade magazine founded in 1894 and home of the industry’s leading charts, reviews the ECM album (ECM 1237, via PolyGram Special Imports) on p. 66 in its Album Reviews under Jazz-Fusion and rates it “Recommended”, Billboard’s label for new releases the editors expect to chart in their format and for albums of superior quality. The unsigned capsule review calls Pirchner a mallet stylist, Pepl an acoustic guitarist and DeJohnette a timemaster, and describes a delicate, mood-rich chamber jazz record that recalls the strongest early productions in this vein by Manfred Eicher, founder and producer of ECM. At the same time, DownBeat presented the album on a full page in its April 1985 issue; this has its own entry in the press archive.
a delicate chamber jazz set rich in moods; recalls producer Eicher’s strongest early forays into this stream
Unsigned capsule review in the Album Reviews under Jazz-Fusion, rated “Recommended”, of the ECM album by Werner Pirchner, Harry Pepl and Jack DeJohnette; Manfred Eicher is the founder and producer of ECM
1983 date teaming mallet stylist Pirchner, acoustic guitarist Pepl and timemaster DeJohnette
Unsigned capsule review in the Album Reviews under Jazz-Fusion, rated “Recommended”, of the ECM album by Werner Pirchner, Harry Pepl and Jack DeJohnette