Reviews that mention Irene Kepl

April 18, 2020

Perlin Noise

John Eats Bacon with Francis in the Cage
SLAM CD 2111

Clément Janinet – O. U. R. S.


Gigantonium GIG 012OUR2

Futurist takes on the violin-reed-rhythm section paradigm that has been used by canny improvisers since the Hot Club of France expanded and fiddlers like Eddie South or Stuff Smith organized combos. Not that Irene Kepl of Perlin Noise or Clément Janinet is an ace string wizard like Stéphane Grappelli, Smith or South. But the nonpareil urbanity each brings to John Eats Bacon with Francis in the Cage or DANSE posits distinctive comportment for the string player during the program. Kepl’s manifold skills join with the five players of Perlin Noise in creating expansive orchestral colors, while Janinet’s O. U. R. S. contributions add an overlay of dervish-like abandon to the other disc. MORE

February 8, 2020

El Intruso’s

12th Annual International Critics Poll
Ken Waxman’s 2019 ballot

Musician of the year: Joe McPhee

Newcomer Musician: Timothée Quost, Gaspard Beck

Group of the year: Roots Magic, Tonus, Joe McPhee Trio

Newcomer group: MétamOrphée

Album of the year: Quatuor de Jazz Libre Du Québec, Musique Politique Anthologie 1971-1974 (Tour de Bras) Uri Caine, The Passion of Octavius Catto (816 Music)

Composer: Roscoe Mitchell, Uri Caine, Harris Eisenstad

Drums; Gerald Cleaver, Steve Noble, Tim Daisy

Acoustic Bass Joëlle Léandre, Barry Guy, Barre Phillips MORE

December 1, 2019

Music Unlimited

Wels, Austria
Nov. 8, 9, 10, 2019

By Ken Waxman

Performance photos by Susan O’Connor

Treading the fine line among genres– or perhaps jumping from one to another – the sounds presented at Music Unlimited (MU) 33 touched on pure improv, hard noise, semi-notated patterns plus electro-acoustic and near-Rock forays. Still, every performer’s musical emphasis was on originality and discovery. That’s why some sets initiated by MU’s three curators – German pianist Magda Mayas, American tenor saxophonist Joe McPhee and Japanese guitarist Kazuhisa Uchihashi – during this annual festival in this Austrian city of 60,000 near Linz, featured some already constituted bands. Others were the equivalent of musical blind dates, with unanticipated sonic interactions adding up to memorable discoveries. MORE

August 16, 2018

Violet Spin

Unit Records UTR 4829

Susanne Paul’s Move String Quartet

Short Stories

JazzHaus Musik JHM 253 CD

Turning an imaginative concept into a viable musical approach is difficult. And it’s especially hard when dealing with such a conventional form as variants on the string quartet. Additionally the implementation becomes that much more problematic when rather than devising a traditional foursome, playing so-called classical music, you want your band to include detours into Jazz, improvisation, funk and atonality. MORE

March 13, 2018

George Cremaschi/Irene Kepl/Petra Vrba

Another Timbre at104

Bay's Leap

Swans over Dorking

City Stream CTYCD00108

North of North

The Moment In and Of Itself

Immediata IMM006

One of the few – or perhaps the only – musical genre named for the location in which it’s performed, chamber music has always carried the cachet of refinement. Sounds created by a few, preferably a trio, of stringed instruments, could never possess the noise and vulgarity that was even present in orchestral works. This sobriquet has continued into modern times, and used to describe more than so-called serious music. Chamber Jazz for instance is thought of as small group sounds performed at low volumes. MORE

April 17, 2015

Irene Kepl/Mark Holub


Colin Webster & Mark Holub


New Atlantis Records NACD 018

On busman’s holidays from his role as drummer with the highly popular, Jazz Rock-oriented Led Bib quintet, Mark Holub immerses himself in experimental sessions that are much more attention grabbing than his day job. Proofs positive are these CDs. Now a Vienna resident, on Taschendrache Holub immerses himself in a dozen duets with Austrian-violinist/electronics-manipulator Irene Kepl, who adds contemporary notated music tropes to his Jazz-Improv orientation. More conventional, in that saxophone-drum duos have long been part of Jazz, is Viscera, the fourth collaboration between the drummer and British alto, tenor and baritone saxophonist Colin Webster, also a member of the otherwise Dutch Dead Neanderthals trio. Substantiated by the CD title the Webster-Holub meeting probes the coarsest most lymphatic corners of unrefined improvisation. MORE