On the album, Coursil is joined by saxophonist Arthur Jones, contrabass clarinetist Anthony Braxton, pianist Burton Greene, bassist Beb Guérin, and drummer Claude Delcloo.

His control of the difficult horn and totally original melodic thinking really makes his playing stand out among the admittedly thin ranks of avant-garde trumpet players.

"[3] Cam Scott, writing for Music & Literature, called the album "spacious and contemplative," and commented: "the player's voices feel almost completely independent of one another, detachable from the whole, and they interact as such throughout, forming any number of collaborative modules.

Beb Guérin's bowing drones heavily below the purr of Braxton's clarinet, recalling the highly textural music of Giacinto Scelsi, as Coursil sputters a series of athematic fanfares throughout.

"[4] In an article for the London Review of Books, Adam Shatz stated that the album demonstrates the fact that Coursil "was fascinated by the relations between sound and silence, density and sparseness – and by the possibility of creating complex new forms that blurred the line between notation and improvisation.