Reviews of 'Forbidden Flute'

'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

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