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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22 December 2019 · Report · IT
Tracce di Jazz (Blog): „L’AVVOCATO DEL DIAVOLO…..“
milton56
Reply on the same Italian jazz blog to the review of “Volver” published on Wednesday, 18 December 2019. Taking the part of the “devil’s advocate”, as the title has it, the author milton56 sets against his colleague’s enthusiasm the story of how the album came about, as he had heard it about a month earlier from the Italian trumpeter Enrico Rava himself. He explicitly retells it from memory: a second-hand recollection, not a studio log. According to this account, the 1986 session was slow to get going because the Argentine bandoneon player Dino Saluzzi and the American drummer Bruce Ditmas had very different ideas about accompaniment and volume, and Rava mediated. In a deadlocked silence Harry Pepl is said to have struck a chord at random, just to break the silence. The producer Manfred Eicher, founder of the renowned European jazz label ECM, came into the studio full of enthusiasm and saw in it the starting point from which the band could at last develop something; Pepl himself could not even vaguely remember the chord. Rava, according to this recollection, described the work on the record as laborious. The author concludes that the album nevertheless found its way to listeners.
The guitarist Pepl strikes a chord at random, just to break the icy silence.
From a story told by Enrico Rava about the stalled recording session for “Volver” in 1986, explicitly retold from memory by the blogger milton56; a second-hand recollection
As if on purpose, the Austrian cannot even vaguely remember what had come out of his instrument by chance……
Punchline of the same story: the producer Manfred Eicher had seen in Pepl’s chance chord the starting point for the recording; a second-hand recollection
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18 December 2019 · Review · IT
Tracce di Jazz (Blog): „Ritornare a ….”Volver”“
andbar
Album review on the Italian jazz blog Tracce di Jazz (“From jazz-fans to jazz-fans”). The author, andbar, came across a second-hand copy of “Volver”, the album recorded in 1986 by the Italian trumpeter Enrico Rava and the Argentine bandoneon player Dino Saluzzi for the renowned European jazz label ECM, with Harry Pepl (guitar), Furio Di Castri (double bass) and Bruce Ditmas (drums). He finds the record somewhat underrated and worth rediscovering. For him the opening track, “Le but du souffle”, begins with a quiet soliloquy on electric guitar; he calls “Tempos de ausencias” a distillation of Argentine melody only lightly flecked by Pepl’s guitar. In Pepl’s composition “Ballantine for Valentine” he hears a free outburst in the spirit of Ornette Coleman, the pioneer of free jazz, which breaks up the calm prevailing mood of the record and widens its horizons. On Sunday, 22 December 2019 a second author on the blog replied with Rava’s own recollection of the recording session.
“Tempos de ausencias”, a distillation of Argentine melody only lightly flecked by Pepl’s guitar
andbar on the Italian jazz blog Tracce di Jazz about “Tempos de ausencias” on “Volver”, the ECM album recorded in 1986 by Enrico Rava and Dino Saluzzi with Pepl on guitar
“Ballantine for Valentine”, an Ornette-style free outburst that breaks up the calm moods prevailing on the record
andbar on Pepl’s composition “Ballantine for Valentine”, his only piece on “Volver”; “ornettiano” alludes to Ornette Coleman, the pioneer of free jazz
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30 November 2019 · Portrait · DE
Passauer Neue Presse: „Viel Gefühl und positive Energie“
Portrait of the trombonist Paul Zauner on his 60th birthday. Asked about the people who shaped him most as a musician, he names Harry Pepl second after David Murray, one of the great three of the older generation.
He is one of the great three of the older generation. I admire his openness in music, the mix of the concrete and the non-concrete, and the blur that is exciting in any art.
Paul Zauner
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13 September 2019 · Radio · DE
Ö1, In Concert: „Harry Sokal, Harry Pepl, Jean-Francois Jenny-Clark, Daniel Humair“ (Österreichisch-französisches Gipfeltreffen 1984 in Wien)
Klaus Wienerroither (Gestaltung)
Programme with an unreleased concert recording from the ORF (Austria's public broadcaster) archive: in 1984 the saxophonist Harry Sokal played in Vienna with the guitarist Harry Pepl, the bassist Jean-Francois Jenny-Clark and the drummer Daniel Humair. The programme was broadcast on 13 September 2019 at 14:05.
the Viennese guitar master Harry Pepl
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3 August 2019 · Interview
christianmuthspiel.com (ORjazzTRA Vienna, Interviews): Interview zum ORjazzTRA Vienna
Christian Muthspiel names four concerts in Graz that made him a jazz musician: Albert Mangelsdorff solo, the Carla Bley Big Band, the Art Ensemble of Chicago and the duo of Harry Pepl and Werner Pirchner.
And not to forget the fourth concert: Harry Pepl and Werner Pirchner.
Christian Muthspiel
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20 March 2019 · Portrait · DE
Der Standard: „Miniopern zwischen Schwermut und Freiheit“
Ljubiša Tošić
Portrait of the singer and composer Elfi Aichinger on her album “Core”: besides New York greats, local musicians such as Fritz Pauer, Uli Scherer, Harry Pepl and Werner Pirchner helped her break out of classical music. Online as early as 19 March 2019.
Local greats such as Fritz Pauer, Uli Scherer, Harry Pepl and Werner Pirchner also helped her break out.
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14 January 2019 · Radio · FR
France Musique (Radio France), „Les Grands entretiens“: „Michel Portal (1/5): Je me cachais la nuit pour écouter de la musique“
Yvan Amar
First episode of a five-part interview series by Yvan Amar with the clarinettist and saxophonist Michel Portal (27 minutes). Among the recordings played is Jack DeJohnette’s “Ahmad The Terrible” with Harry Pepl (guitar), Dave Liebman (soprano saxophone) and Michel Portal (tenor saxophone) from the album “Men’s Land” (Label Bleu).