On the album, the recording of which was supervised by Nat Hentoff, Massey is joined by saxophonist Hugh Brodie, French hornist Julius Watkins, pianist Patti Bown, double bassist Jimmy Garrison, and drummer G.T.

"[6] Steve Holtje of MusicHound Jazz described the album as "a valuable document" despite the fact that it "suffers from poor engineering and a sub-standard piano."

If nothing else, the recording helps keep alive the name "Cal Massey," even if the man himself remains a shadowy and inscrutable figure, forever inviting questions that seem to go to the heart of the jazz life itself.

Lacking the virtuosity of Hubbard or the ebullience of Morgan, he is an introverted player with a deep feeling for the blues and a sound that occasionally evokes Clark Terry.

"[8] UK Vibe's Mark Jones called the album "an important release showcasing the composer’s valuable contributions to the East Coast jazz scene and the changing political and social landscape of the 1960s in America," and remarked: "The music is deceptively unassuming with real depth, yet seemingly simplistic in its delivery.