Werner Pirchner, Harry Pepl, Jack DeJohnette (Remastered) Werner Pirchner, Harry Pepl, Jack DeJohnette

Album info

Album-Release:
1983

HRA-Release:
09.08.2019

Label: ECM Records

Genre: Jazz

Subgenre: Contemporary Jazz

Album including Album cover

I`m sorry!

Dear HIGHRESAUDIO Visitor,

due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.

We suggest, that you bookmark the album and use our Short List function.

Thank you for your understanding and patience.

Yours sincerely, HIGHRESAUDIO

  • 1Just 814:55
  • 2Air, Love And Vitamines07:18
  • 3Goob-Bye, Baby Post09:42
  • 4Better Times In Sight09:50
  • Total Runtime41:45

Info for Werner Pirchner, Harry Pepl, Jack DeJohnette (Remastered)



Vastly under-recognized malleter and composer Werner Pirchner sharing the same studio with guitarist Harry Pepl and drummer Jack DeJohnette? What could go wrong? Quite a bit, unfortunately. The opening “Africa Godchild” starts intriguingly enough, seeming to creep from the soil like an awakening locust. Pirchner describes with his marimba the feelers of a friend testing the air and finding only the welcoming glow of sunrise, while DeJohnette’s tom-heavy drumming calls forth the swarm. Yet despite these evocative beginnings, Pepl’s Ovation soon becomes distracting, and the chorus effect applied to it makes its chording sound perpetually out of tune. When soloing, however, it sounds fantastic, as the force of the playing cuts through the warble that constricts it. In “Air, Love and Vitamines,” the guitar again feels out of place, despite the lovely improvisatory stretch from Pirchner’s vibraphone. “Good-bye, Baby Post” fares little better, and Pepl’s crackling solo is too little too late. He shows admirable melodic acuity in the closing “Better Times In Sight,” but is once more undermined by the amping, which would have benefited greatly from a cleaner treatment.

This unusual collaboration could have been something special. Technical criticisms aside, its major stumbling block comes from the musicians’ lack of communication. Each draws a sphere that only seems to intersect tangentially with the other two. This might have been a gem of a recording had only Pirchner and DeJohnette been there to lay it down. In a catalogue as vast as ECM’s, one can hardly be surprised to encounter a forgettable effort now and then. Sadly, this may be one of them.

Werner Pirchner, tenor vibes, marimba
Harry Pepl, ovation guitar
Jack DeJohnette, drums

Recorded June 1982 at Tonstudio Bauer, Ludwigsburg
Produced by Manfred Eicher

Digitally remastered



Werner Pirchner
geboren am 13. Februar 1940 in Hall/Tirol, ist in den einfachen Verhältnissen einer Arbeiterfamilie aufgewachsen. Seine ersten musikalischen Eindrücke empfing er durch das Radio; ein pensionierter Finanzbeamter brachte ihm das Spiel auf der Knopforgel seines Vaters bei. Bereits als Neunjähriger war er fasziniert vom Jazz, wodurch seine spätere Tätigkeit als Musiker und Komponist wesentlich geprägt wurde. Mit 14 Jahren begann er „unfreiwillig“ eine Schriftsetzerlehre; nebenher wirkte Pirchner, der sich das Klavierspielen selbst beigebracht hatte, als Tanzmusiker. 1958 beendete er seine Lehre, verkündete „Ich bin Musiker!“ und entdeckte mit dem Vibraphon ein neues Instrument für sich. 1963 wurde er Jazzvibraphonist im „Oscar Klein Quartett“ und gründete 1964 ein eigenes Jazzquartett. Aufgrund seiner Erfahrungen als Arrangeur entstanden erste Kompositionen für Film, Theater und Rundfunk. Ende der 60er-Jahre setzte er sich intensiv mit Lehrwerken von Schönberg u.a. auseinander. ...

This album contains no booklet.

© 2010-2019 HIGHRESAUDIO