[2] Structure exists in the performance because of "the close interaction between musicians, as they enter in imitation of a figure previously stated by another member.
[6] Konitz's entrance reinforces a tonal center of C.[6] Bauer initially responds to a scalar section, and then interacts closely with Tristano.
[7] Marsh also starts, at 1:09, by extending an earlier motif, them moves into 54 as the others, except for Fishkin, refrain from playing.
[9] Tristano stated that the surviving sides were released only after disk jockey Symphony Sid played copies of them on his radio programs.
[11] Numerous other musicians of the time, however, thought Tristano's music was too progressive and emotionally cold.