Press on Harry Pepl Quartet
What was written and broadcast about Harry Pepl and Harry Pepl Quartet: reviews, portraits, interviews and obituaries, with summary and source.
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28 July 1994 · Portrait · DE
Neue Kronen-Zeitung (Styria edition, p. 22): „Rastloser Grenzgänger“
Bernd Schmidt
Short portrait on the CD “N.Y.C. Im-Pressure” with Claus Stötter, Paul Nowinski and Jojo Mayer. Pepl explains his Real-time Composing, mentions projects with Günter Meinhart and STUDIO PERCUSSION and talks about his studio in Hernstein.
Versatility is as much a part of Pepl as his turn to different (compositional) techniques.
In doing so, while playing the instrument, I record what is present in my consciousness during the creative process.
In 1994, on his Real-time Composing, in a portrait in the Kronen Zeitung, Austria’s largest-circulation daily
Harry Pepl
He remains a crosser of borders, this Harry Pepl.
only influenced by the New York street noises, by the loud life in this gigantic city.
On how his album “N.Y.C. Impressure” came about, 1994
Harry Pepl
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26 July 1994 · Report · DE
Kronen Zeitung (p. 18): „Musikalischer Grenzgänger lehrt an ‚NÖ Jazzakademie‘“
initials „D. S.“
Preview of the sixth Lower Austrian Jazz Academy at Zeillern Castle (31 July to 6 August 1994), a further-training seminar for aspiring professional musicians. Pepl is introduced as the most prominent teacher; with his quartet he plays the opening concert on Sunday, 31 July, at 9 pm.
Guitarist and composer Harry Pepl is regarded as a musical border-crosser and has played with jazz greats such as Benny Goodman, Dave Holland, Dave Liebman and Jack DeJohnette.
The top-class musician will also play the opening concert with his quartet on 31 July from 9 p.m.
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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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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
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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December 1992 · Report · DE
Jazzlive (vol. 10, no. 99/1992): Titelbild Harry Pepl; „Soundknitting. Die farbenfrohen Klangmuster der New Yorker Knitting Factory“
Hannes Schweiger (article); Rainer Rygalyk (cover photo)
The Viennese jazz magazine shows Harry Pepl on its cover, photographed by the publisher Rainer Rygalyk. In the issue, Hannes Schweiger describes the history and programme of the New York club Knitting Factory (New York music club for jazz and the avant-garde) and reports that in summer 1992 Pepl played there for an evening with his quartet (Klaus Stötter, Paul Nowinski, JoJo Mayer). Pepl describes how the pace of New York changed the way he plays.
I noticed myself that I play completely differently there than at home.
On his performance at the Knitting Factory, New York’s avant-garde club, in summer 1992
Harry Pepl
The ambience of the club is rather plain. Playing there was really an experience.
On the Knitting Factory, New York’s avant-garde club, where he played in summer 1992
Harry Pepl
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2 April 1992 · Other
Knitting Factory Works, New York (letter): Einladung an das Harry Pepl Quartet für den 2. Juni 1992
Michael Dorf, Director
Letter from the Knitting Factory to Harry Pepl in Hernstein: on behalf of the club management, Michael Dorf invites the Harry Pepl Quartet to perform on 2 June 1992 at 11 p.m. at the club, which he describes as the first venue for avant-garde jazz in New York. Shortly afterwards the album “N.Y.C. Impressure” was made in New York.
We think this will be an invaluable opportunity to expose your music to a New York audience.