[1] The concert, which occurred on the final night of the festival, was originally planned as a double-bill event with solo sets by Crispell and Taylor.

[2] Regarding the Plimley/Oswald duo, AllMusic's François Couture wrote: "The best moment is found in 'Free' where the two players finally connected and put the energy display aside to take the improv down to a simmer for the last two minutes."

Regarding Taylor's set, Couture commented: "'Congress'... features his energetic jagged playing with pockets of more subtle moments interspersed.

[3] Writing for Jazz Times, Bill Bennett stated: "Oswald's... range and Plimley's are complementary, and the pair has obviously devoted plenty of time to understanding each other and their approach to music... Marilyn Crispell charts a course for her audience that is more clearly defined than those of her compeers here... spaces in her playing... seem to carry a romantic resonance, a gentle invitation... no one has better understood the percussive soul of the piano than Taylor, and his ability to create and reprise moving inner voices in the textural and harmonic density of his performances is unique.

The father of the jazz-piano avant-garde, Cecil Taylor, divides this challenging... set... with two of his 'kids,' Marilyn Crispell and Paul Plimley.