One of the great appeals of this trio (alright, quartet, but we'll get
to that) is that it breathes as a single living being. In concert, and
on their previous recordings, Hübsch, Schubert, and Wierbos sound as
though they are one three-voiced beast, singing ad libitum, moving
seamlessly between written material and the stuff of their
imaginations, when necessary covering mistakes, compressing coal into
diamonds, all of this with apparent unified thought.

Aware that the gravitational pull of a percussionist might tear at the
seams of his Universe's bonds, Carl Ludwig hübsch chose carefully.
Although in the Universe Hübsch limits himself to tuba, he is also a
talented drummer. That was one of the reasons he wanted to experiment
with the effects of the right drummer on this more-than-a-decade-old
trio. In Gerry Hemingway he knew he had a singular personality who
could function as a melodic voice, as on "3 pinups," or as a source of
metric propulsion, as on "not even," or at times move freely between
the two roles, as on "module mobile." As important as this versatility
and his innate creativity is Hemingway's organic, intentional
looseness, a flexibility that lets this now-four-voiced animal breath
freely.


Scott Fields, Cologne, April 2010