'I believe there are new roads to explore, I don't believe
everything has been said on the jazz flute. For example I've heard some experimental
work being done by Peter Guidi that I like very much, I find it very interesting'.
Legendary 'father' of the jazz flute Frank Wess
'In my opinion this recording is a standard work that
any self-respecting flutist who wishes to remain in touch with the times should
listen to.'
Rakendra Smits 'Muziek Wereld', Holland.
'This is an excellent and at times majestic rcording
that is required listening for those who wsih to know what a flute can do today
playing modern jazz. A fascinating recording'.
Coen de Jonge, 'Jazz' Holland.
'The fluite is somewhat on the out these days especially
in the world of jazz. Think of how few improvisers are known primarily for their
artistry on the flute. This unusually fine recording by flautist Peter Guidi
may do something to rectify that. Not only will this tour de force appeal
to lovers of the flute, but also it should raise a few eyebrows among the merely
curious. Guidi has a gorgeous sound that must come from years of formal training.
He also has a wonderful feel for the jazz idiom, and he solos inventively in
a straight ahead mode. While he seems to pick just the right notes, he does
much more than simply run through the changes. Instead, he utilizes the entire
instrument, singing while he plays, engaging in sophisticated multiphonics,
key clicks, tongue stops, and jet whistles while generally engaging the listener
with surprises. Two of the tracks, 'De Profundis' (Out of the Depths) and 'Stardust'
were recorded in Montefiore Castle with its magnificent echo that Guidi incorporates
in his performance. The quarter tone flute is played upbeat on 'Adem & Eva'
where Guidi creates three note chords with voice and multiphonics. By any standard
this album is a winner, one that features outstanding blowing within the tradition,
but that expands the boundaries. His outstanding technique, inspiring solos,
and total command of his flutes makes this something special.'
Steven A. Loewy, 'Cadence' magazine, England.
'In his playing Peter combines modern flute techniques
with a supple control of the Bebop vocabulary. He does this with equal command
on his wooden flute, alto and bass flutes and the Eva Kingma quarter tone flute.
The effects that can be heard on the solo composition 'Adem & Eva' (dedicated
to Eva Kingma) from mutiphonics, vocal gymnastics and tongue clicks to 'blue'
quarter tones, gives us an impression of how exciting the first blues in Paradise
must have sounded.. And also the other two solo pieces recorded in the well
of Montefiore castle in Italy are brilliant, not only because of the breathtaking
acoustic but also because of Peter's clear and intelligent musicality. Peter's
superior virtuosity ensures that listeners will spend the 68 minutes of this
cd fascinated on the edge of their seats.'
Jazz flutist Mark Alban Lotz, 'Fluit' magazine, Holland.
'A few days ago I listened to a CD called 'Forbidden
Flute' by fellow list member Peter Guidi. Peter plays flute, alto flute, quarter
tone flute (using fellow list member Eva Kingma's design) and bass flute. The
CD contains a wide variety of styles and sounds and is some of the finest jazz
playing that I have ever heard. This is a recording that I would recommend without
hesitation to anyone interested in flutes and/or jazz.'
Larry Krantz, flutist and co-ordinator Internet Flute List, Canada.
'Peter has put together a fine selection of foot-tapping
and spine-tingling curiosities. His Hofinger wooden flute has an innocent languor
every inch as dangerous as a Spice Girl. When he moves on to the alto flute
you can hardly hear the difference, but the virtuosity and invention grow with
every track. For one of the bass flute numbers we visit an underground chamber
at an Italian castle, where the special effects include resonances of almost
subsonic depths and a brilliantly entertaining study in breathy effects, melodic
key clapping, tongue clicking swishing and flopping (embouchure tonguing). In
the remaining numbers peter simultaneously sings and plays with wild bravura
using a whole variety of combined intervals, plus multiphonics, harmonics and
microtones (using the Eva Kingma quarter tone flute). There is nothing this
man can't do, and he does it all with humour and imagination. Brilliant.'
Richard Stag, Pan magazine, England.
'The flute style of Guidi is a
combination of the classical jazz style of Bud Shank and the hardbop style of
Roland Kirk. But his use of vocalising brings him closer in style to Kirk rather
than to Shank. Guidi has an incredible technique which allows him to play whatever
he chooses on his flutes (listen to 'Runnin' The Changes') a technique which
is also coupled to an innate sense of musical taste (hear 'I Can Dream Can't
I' and 'I Wish I Knew'). This cd will be appreciated not only by those who are
lovers of the flute but also by those who love good music.'
'Ritmo' magazine, Italy
'The cd opens with a be-bop version of the jazz standard
'It Could Happen To You' and ends with an almost spectral rendition of the ballads
of all ballads 'Stardust'. Whoever associates the term 'flute' with deers running
in a meadow will be very surprised by this recording. Peter Guidi proves himself
to be a skilful and intensive soloist.'
Jeroen de Valk, Het Parool.
'Self taught musician Peter Guidi has already won many
prizes as leader of the 'Jazzmania' big band, has led the European big band
in 1997, runs the 'Jazz Workshops' and has published a two volume flute method
entitled 'The Jazz Flute'. His new cd 'Forbidden Flute' is his third recording
and opens with the standard 'It Could Happen To You' where the tight swing is
coloured by a whole range of sounds that bring to mind the roaring of lions
on the one hand and rushing high speed trains on the other. Guidi presents a
variety of mood including blues, bebop and bossa nova. There is also a variety
of formations ranging from solo and duo to trio and quartet.'
John Weyers, 'Jazz Nu' magazine, Holland.
'This recording alternates famous jazz standards with
bebop style compositions from the leader. Particularly effective are the suggestive
solo pieces performed on the revolutionary quarter tone flute. The cd ends with
a recording of Stardust made in Montefiore Castle where the natural resonances
combined with the underlying silence create an atmosphere which remains in ones
heart.'
Claudio Sessa, 'Musica Jazz' magazine, Italy.
'The last slow piece with the typical Hein van der Geijn
dream bass intro, and Guidi's 'Runnin' The Changes' are the absolute top!
Haagsche Courant, Holland
'Peter Guidi has published a flute method entitled 'The
Jazz Flute', judging by his performance on the cd 'Forbidden Flute' he has learned
his own lessons very well. He plays flute, alto flute, bass flute with jaunty
stylishness and plays a daring solo performance on the wooden quarter tone flute.'
Bert Vuijsje, HP/ de Tijd
'In this cd he is exploring the many possibilities that
the different flutes have to offer. He plays the flute, alto flute and bass
flute plus the Kingma quarter tone flute. Although this Dutch invention has
been used in modern classical recordings, this is the first jazz recording to
be made on this type of flute. With the addition of extra keys it is possible
to play quarter tones as well as the normal whole and half tones. Consequently
there are four steps between two notes instead of the usual two which offers
the player many different tone colours. The secretive, dark sound of the bass
flute gives you the feeling that you are inside the instrument itself, so intimately
is it recorded. This is intense and dramatic music. '
Rotterdam Dagblad, Holland.
'The quote from Aristotle on the back of the cd cover
'The flute is not an instrument that has a good moral effect. It is too exciting'.
Is more than just an intellectual boast, it is here made to come true. For example,
an exciting number like 'Runnin' The Changes' would be a perfect sound track
for a thrilling car chase.'
Dagblad De Limburger, Holland.
'The variety of compositions and formations captivates
your attention completely.'
Brabants Dagblad, Holland.
Peter Guidi is a real flute player, not just another
reed player that plays the flute as a second instrument. That is clear from
his sound, his technical command of the instrument and the arsenal of effects
that he uses tp produce extra emotions on what is usually considered to be merely
a sweet sounding instrument. Swinging bop numbers in quartet are interspersed
with more introspective pieces in trio formation, a duet with bass flute and
bass and three solo pieces. All in all a cd full of diverse and exciting music''.
Het Nieuwsblad , Holland