The following year, Bernard Stollman offered Tyler the opportunity to record his first album as leader on ESP-Disk.

The band features an unusual instrumentation for its time, using cellist Joel Freedman and bassist Henry Grimes from Albert Ayler's group along with Charles Moffett on mallet instruments and a young Ronald Jackson (later known as Ronald Shannon Jackson) on drums.

[2] In his review for AllMusic, Michael G. Nastos wrote "With this vivacious music that stretches time parameters and harmonic envelopes, Tyler and his crew bend whatever malleable shapes they can, while burning down the traditional jazz house and still paying homage to bebop.

"[3] The JazzTimes review by Lyn Horton notes "Distinguishing Tyler, from Ayler, is the sourness of his flourishes.

"[5] The All About Jazz review by Raul D'Gama Rose says that "Unlike many records of the mid-1960s, it burns with a quiet blue flame, eschewing the intellectual posturing that characterized much new music in the avant-garde era.