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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27 August 1988 · Other
Music Week (British music trade magazine): „New Albums“ (Neuerscheinungen vom 30. August bis 2. September 1988)
The new-release list of the British music trade magazine includes “Cracked Mirrors” by Harry Pepl, Herbert Joos (printed “Joss”) and Jon Christensen for the week beginning Tuesday, 30 August 1988, as a jazz album on ECM/New Note, LP ECM 1356, CD 833 472-2. It is a trade listing of the British release, not a review.
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PEPL, Harry/Herbert JOSS/Jón CHRISTENSEN CRACKED MIRRORS ECM/New Note ECM 1356/8334722"CD"
Entry in the “New Albums” list of the British music trade magazine Music Week for the week of 30 August to 2 September 1988: British release of “Cracked Mirrors” on ECM/New Note, LP ECM 1356, CD 833 472-2. “JOSS” and “Jón” as printed, meaning Herbert Joos and Jon Christensen; a listing, not a review
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1988 · Other · DE
press review (Collage, compiler not named): „Cracked Mirrors“: Kritiken aus Deutschland, Österreich, Frankreich, Großbritannien und Japan
various (incl. Ken Hyder, Christa Wörner, Robert Urman)
Collage of reviews of “Cracked Mirrors” arranged around a concert photo of Harry Pepl: the review „Ausdrucksstark“ [“Expressive”] with the note on the quarterly list of the German Record Critics’ Award (German award for outstanding recordings, chosen by a jury of critics), concert reviews from Esslingen and Linz, a French review, an English one by Ken Hyder (“a marvellous feel of understatement”) and a Japanese CD review. This collection is the source of the often-quoted verdict on Pepl as one of the most innovative guitarists in Europe.
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Harry PEPL’s natural and attractive playing on his MIDI guitar creates constant “aha” moments and marks him out as one of the most innovative guitarists in the whole of Europe.
The jazz guitarist Harry Pepl proves to be a master of sound painting with his new album “Cracked Mirrors”
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27 September 1986 · Other
Bizim Caz, Datenbank des Jazz in der Türkei (online): „Dino Saluzzi ve Enrico Rava Beşlisi“, Şan Tiyatrosu, 2. Bilsak Caz Festivali
Database entry on the concert of the quintet of Dino Saluzzi and Enrico Rava on Saturday, 27 September 1986, at 11 pm at the Şan Tiyatrosu in Istanbul, Turkey, at the 2nd International Bilsak Jazz Festival, with Enrico Rava, Harry Pepl, Dino Saluzzi, Furio Di Castri and Bruce Ditmas.
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26 September 1986 · Other
Bizim Caz, Datenbank des Jazz in der Türkei (online): „Air Mail“, Şan Tiyatrosu, 2. Bilsak Caz Festivali
Database entry on the Air Mail concert on Friday, 26 September 1986, at 10 pm at the Şan Tiyatrosu in Istanbul, Turkey, at the 2nd International Bilsak Jazz Festival, with Wolfgang Puschnig, Harry Pepl, Mike Richmond and Wolfgang Reisinger; organiser BİLSAK.
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7 March 1986 · Other · FR
Banlieues Bleues, festival archive (online): Konzert des 3. Festivals: Portal, DeJohnette, Cinelu, Jenny-Clark, Pepl
Entry in the online archive of Banlieues Bleues, the jazz festival in the Seine-Saint-Denis département near Paris (France), for the concert on Friday, 7 March 1986, at the Salle des fêtes in Montreuil: Michel Portal (reeds), Jack DeJohnette (drums), Mino Cinelu (percussion), Jean-François Jenny-Clark (double bass) and Harry Pepl (guitar). The archive confirms that Cinelu also played in the concert, not only at the rehearsals. Between 1984 and 1990 it is the only evening with Pepl in the festival's archive.
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24 October 1985 · Other · DE
steirischer herbst, festival archive (online): „Jazzzwio Werner Pirchner / Harry Pepl & Gast“, Open Spoons Konzert
Entry in the archive of the steirischer herbst festival on the performance of the Jazzzwio with a guest on Thursday, 24 October 1985, at the Katholisches Studentenhaus Münzgraben in Graz, Austria, in the “Open Spoons” series.
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Only Werner Pirchner and Harry Pepl are named; the guest remains unnamed.
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23 October 1985 · Other · DE
steirischer herbst, festival archive (online): „Martin Wiederhofer Trio / Jazzzwio Pirchner Pepl“, Mürztaler Werkstatt Jazz
Entry in the archive of the steirischer herbst festival on the double concert on Wednesday, 23 October 1985, at the Gasthof Prettenthaler in Kindberg (Styria, Austria), in the “Mürztaler Werkstatt” series: Martin Wiederhofer Trio and Jazzzwio.
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It names Harry Pepl, Werner Pirchner, Robert Riegler, Walter Schmocker, Heimo Wiederhofer and Martin Wiederhofer, without assigning them to either group.
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17 October 1985 · Other · DE
steirischer herbst, festival archive (online): „Daniel Humair, Harry Pepl, Jean-François Jenny-Clark: Konzert“
Entry in the archive of the steirischer herbst festival on a concert and exhibition on Thursday, 17 October 1985, at the Katholisches Studentenhaus Münzgraben in Graz, Austria: the trio Daniel Humair, Harry Pepl, Jean-François Jenny-Clark and the exhibition “Daniel Humair: Malerei und Grafik” (painting and graphic art).
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April 1985 · Other
DownBeat (US-Jazzzeitschrift, gegründet 1934): „European ECM“: Werner Pirchner, Harry Pepl, Jack DeJohnette (ganzseitige Vorstellung, Heft April 1985, Vol. 52, Nr. 4)
DownBeat, the leading US jazz magazine (founded in Chicago in 1934), presented the ECM album by Werner Pirchner, the Austrian composer and vibraphonist, Harry Pepl and Jack DeJohnette (ECM 1237) on a full page, p. 11, of its April 1985 issue, with a picture of the cover: “Austrians Pirchner and Pepl join with drummer Jack DeJohnette to create a highly original and accessible trio sound.” It highlights the electronic effects of Pepl’s Ovation guitar blending with Pirchner’s vibraphone and marimba. The album was presented in the “European ECM” series of the New York import distributor PolyGram Special Imports, together with four other albums from the renowned European jazz label ECM. According to the masthead, the issue went on sale on Friday, 15 March 1985.
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Austrians Pirchner and Pepl join with drummer Jack DeJohnette to create a highly original and accessible trio sound.
From the full-page presentation of the ECM album in DownBeat, April 1985, in the “European ECM” series of the US distributor PolyGram Special Imports
PolyGram Special Imports, European ECM
The electronic effects of Pepl’s ovation guitar blend with Pirchner’s tenor vibes and marimba to form a rich overlay
From the full-page presentation of the ECM album in DownBeat, April 1985, in the “European ECM” series of the US distributor PolyGram Special Imports
PolyGram Special Imports, European ECM
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23 September 1984 · Other · DE
steirischer herbst, festival archive (online): „Michel Portal Unit featuring Harry Pepl“
Entry in the archive of the steirischer herbst festival on the guest performance on Sunday, 23 September 1984, in the former slaughterhouse in Graz, Austria, in the “Falso Loco” series, with Daniel Humair, Jean-François Jenny-Clark, Joachim Kühn, George Lewis, Harry Pepl and Michel Portal.
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11 June 1984 · Other · DE
moers festival, festival archive (online): Archiv 1980 bis 1989: 11. Juni 1984, Eissporthalle
For the festival from Friday 8 to Whit Monday 11 June 1984, the online archive of the moers festival (international festival for jazz and improvised music in Moers, North Rhine-Westphalia, Germany) lists “Airmail (AUT)” on the last day in the ice rink hall, with Wolfgang Puschnig, Karl “Bumi” Fian, Mike Richmond and Wolfgang Reisinger, on the same evening as Pension Winnetou, Yoshiaki Fujikawa & Eastasia Orchestra and the 29th Street Saxophone Quartet. Pepl is not listed in this line-up; according to Nikolaus Kohler he played.
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30 October 1982 · Other · DE
steirischer herbst, festival archive (online): „Weltmusikfest der IGNM“, Abend „Jazz Club / Jazz Band Ball“
Entry in the archive of the steirischer herbst festival on the World Music Days of the International Society for Contemporary Music (ISCM) 1982 in Graz, Austria: on Saturday, 30 October 1982, at 10 pm the Steirische Herbst Band ’82 under Erich Kleinschuster plays in the Saal Steiermark of the Congress, with Harry Pepl among the 30 musicians named, in the same slot as the Vienna Art Orchestra under Mathias Rüegg; further dates of the band until Thursday, 4 November 1982, in the exhibition hall of the Congress.
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26 October 1982 · Other · SL
Delo (Slovenian daily newspaper, Ljubljana): Nr. 250: Mitteilung des ŠKUC in der Rubrik „Obvestila“
Notice from ŠKUC, the Student Cultural Centre in Ljubljana (Stari trg 21), in the “Obvestila” (notices) column: together with the Austrian Cultural Institute in Zagreb it invites the public to a concert by the jazz duo of Pirchner and Pepl, “Jazz Zwio” (as printed), on Wednesday, 27 October 1982, at 7 pm, with Harry Pepl on electric and acoustic guitar and Werner Pirchner (printed “Perchner”) on tenor vibraphone and marimba. The same notice appeared again on the day of the concert (no. 251, p. 11).
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concert by the jazz duo Pirchner, Pepl, Jazz Zwio (line-up: Harry Pepl, electric and acoustic guitar; Werner Perchner, tenor vibraphone and marimba)
Notice from ŠKUC, the Student Cultural Centre in Ljubljana, in the Slovenian daily “Delo” of Tuesday, 26 October 1982, about the Jazzzwio concert the following evening in Ljubljana, organised together with the Austrian Cultural Institute in Zagreb; “Perchner” is a misprint in the newspaper for Werner Pirchner
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6 November 1981 · Other · DE
Rockpalast-Archiv (private fan archive, online): „PIRCHNER-PEPL JAZZZWIO - Metropol Berlin 06.11.1981“
The Rockpalast archive, a privately run fan archive on Rockpalast, the music programme of WDR television (West German Broadcasting), and not a WDR site, lists the Jazzzwio of Werner Pirchner (vibraphone, marimba) and Harry Pepl (guitar) at the Jazz Fest Berlin at the Metropol on Friday, 6 November 1981, with the set list of eight pieces and their durations, around 85 minutes in all: “Berlin '81 Die Erste”, “Gegenwind”, “Homesick”, “Der Tag An Dem Wir Erfuhren, Dass Paul Desmond Gestorben War”, “Drein Sein Beieinader Bleiben”, “Germ In A”, “Raga Nr. 3” and “White Smoke”. In the archive’s production list the evening appears among further Rockpalast recordings at the Metropol from 3 to 8 November 1981, including U2, John Scofield and James Blood Ulmer. The page does not say whether the recording was broadcast or survives.
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17 October 1981 · Other · DE
Donaueschinger Musiktage, festival archive (online): „SWF-Jazz-Session“ (Donaueschinger Musiktage 1981)
The archive of the Donaueschingen Music Days at SWR, one of the oldest festivals of contemporary music (since 1921), lists for Saturday, 17 October 1981, 8.30 pm, in the Donauhalle (hall B) the SWF Jazz Session with “Jonny tritt ab, keine Jazz-Oper für Stimmen und Instrumente in zwei Teilen” (Jonny Exits, no jazz opera for voices and instruments in two parts) by Mathias Rüegg, who also conducted. The performers were the Vienna Art Orchestra and the Stadtkapelle Radolfzell, a town band, with the singers Karin Krog, Lauren Newton and Maggie Nicols, the saxophonist John Surman and Harry Pepl (guitar); the producer was Joachim-Ernst Berendt, jazz editor of Südwestfunk (SWF), the public broadcaster for south-western Germany. For Pepl the archive lists only this evening.
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October 1981 · Other · DE
Sounds (music magazine, Hamburg): „Jazz Fest 81 Berlin“ (Anzeige der Berliner Festspiele, Heft 10/1981, S. 64)
In issue 10 (October 1981) of Sounds, the Hamburg music magazine (1966 to 1983, at first focused on free jazz), the Berliner Festspiele announce the Jazz Fest Berlin of 5 to 8 November 1981 in an advertisement on p. 64. For the Metropol they list “Pirchner-Pepl Jazzzwio/ Defunkt” on Friday, 6 November, at 11 pm; on the other evenings Volker Kriegel, the John Scofield Trio, Michael Gregory Jackson and James “Blood” Ulmer play there. It is an announcement, not a concert report.
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15 November 1980 · Other · DE
Brief aus Bangkok: „Benny Goodman war nach dem 2. Konzert voll des Lobes“: Brief an Harry Pepl nach den Berliner Goodman-Konzerten
Kurt A. Müller
Typewritten letter from Bangkok to Harry Pepl in Hernstein, a week after the concerts with Benny Goodman at the Berlin Philharmonie (7 and 8 November 1980).
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According to the family archive, the sender was Goodman's manager Kurt A. Müller, the Swiss friend of Goodman living in Bangkok who co-organised the concerts, chose the musicians in Europe and made the recordings. He reports that Goodman was full of praise after the second concert; during Pepl's solo at the start of the second concert Goodman got going as he had not done for years, and the whole quintet jammed as in Goodman's early years. Goodman's only regret was that Pepl did not play an acoustic guitar. Full text (translated from the German, address omitted): “Mr Harry Pepl, [address], 2560 Hernstein, Lower Austria. 15 November 1980. Dear Mr Pepl, My wife and I have now arrived safely back in Bangkok and still think back often and fondly to the swinging days in Berlin. After the second concert Benny Goodman was full of praise for you and your colleagues. I myself was also glad that everything went so well, because whoever plays with Benny Goodman has to be good, otherwise things can get uncomfortable, since Benny is an absolute perfectionist and demands a great deal of perfection from his musicians too. When you took off with your solo at the start of the second concert, Benny really got going, in a way I had not seen him for many years; Charly, Peter and Don Haas swung along and the whole quintet ‘jammed’ as was only the case in Benny Goodman's early years. He confirmed this to me afterwards too and was in the best of moods. The only thing he regretted was that you did not have a natural guitar, because he would have liked that even better, he said, but it was fine as it was. So once again many thanks for your fine contribution, it was truly a delight for all of us, and the audience went wild, as you can hear again on the tape recordings. The photos are being copied and I will send them to you in a few days. I would be glad to hear from you soon; perhaps you could send me a tape on which you play swinging music, I would then copy it for Benny, if you allow. Warm regards, also from my wife, and all the best. Yours, [signature]”
After the second concert Benny Goodman was full of praise for you and your colleagues.
When you took off with your solo at the start of the second concert, Benny really got going, in a way I had not seen him for many years
Letter from Kurt A. Müller, manager of Benny Goodman, the “King of Swing”, after the second concert at the Berlin Philharmonie in November 1980