This quartet came together in 2004 and we first recorded it in June 2004 (CIMP 315). At the time I wrote “This is a tough group,” speaking about the group’s musical character but the fact that four years later they are still functioning as a group speaks to another toughness or resilience. Between these dates each member of the group has been active with a number of other projects, both as members and leaders. As for Casa del Popolo, it is one of the most continuously supportive outlets for creative improvised music in Canada and a venue where, in 2005, CIMPoL made its first recordings (CIMPoL 5001 and 5003). The venue is small—about 16’ by 60’ with a 10’ by 10’ bandstand at its end, a bar, and tables at the other (street) end. A relaxed and respectful environment is both encouraging of the artist, and, in this case the CIMPoL crew as well. The first set opened around 10 p.m. In his opening announcement, Steve Swell (b.1954, Newark, NJ) noted it was hockey night in Canada, May Day the next day, but tonight would be mayhem and with that they were off and running with Box Set. Earlier, in discussing the calculated risks of recording on location, Barry Altschul (b.1943, NYC, NY) modestly told me that if we didn’t get (the material) for a great recording it was our fault as “this band has been amazingly strong” for the whole tour. In a phone conversation a few days earlier, Steve had suggested to me basically the same thing. All this I think was confirmed right from the opening on Box Set, which if the opening mayhem doesn’t give you pause, surely Gebhard Ullmann’s (b.1957, Bad Godesberg, Germany) driving tenor solo will. The second piece, Don’t Touch My Music, is interesting in that the heart of the piece is made up of two duos, stop time with Steve and Gebhard and in time with Barry and Hill Greene (b.1958, Logansport, IN) giving further evidence of the robustness of this group. On Improv/ For Grachan, it’s not duologues but monologues that distinguish this composition. Both Hill and Barry have distinguishing solo conversations in the performance, a piece seemingly made up of many pieces, many conversations, and many wonderful moments and movements. Slammin’ Textures/ Kleine Figuren and Composite #1 both come from the second set. Again, the former displaying a structural development built along a series of solos and duos and rhythmic variances covering everything from madrigal-like Third Stream sounds to backbeat Blues. The final performance of the night, Composite #1, develops off a typical Swell stomp riff and eventually deconstructs into a minimalist dialogue then gathers its passionate conversation for some improvisatory fellowship and finish. Hockey night in Canada rarely sounded so good. Robert D. Rusch - April 30, 2008

His limited discography as a leader may well be explained by the deliberateness exhibited in both his playing and composition. Such careful consideration obviously carries over into his recording choices and are well worth the wait. Emotive. Thinking. This is music worthy of your attention.