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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2016 · Review · DE
Jazzpodium: „Harry Pepl & Clemens Salesny, Martin Bayer, Peter Primus Frosch, Agnes Heginger, Fullmax15-01 CD“
Alexander Schmitz
Review of the 2015 double CD in the German jazz magazine Jazzpodium, probably 2016. Schmitz recalls Le Monde's “giant of improvisation”, Scofield's “machine gun”, the Jazzzwio, Air Mail and the MIDI guitar that first made Real Time Composing possible. He describes twelve previously unreleased soliloquies from the Lonely Single Swinger Band and 13 Pepl compositions in a new guise with Clemens Salesny, Martin Bayer, Peter Primus Frosch and Agnes Heginger, with Herbert Joos, Alex Meissl and Clemens Wenger as guests.
which now brings the name of the great Viennese guitarist Harry Pepl back into public awareness with a project of equal stature
There is nothing at all to say that could even come close to capturing this late, magnificent Pepl spectacle.
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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.