[3] As stated by Bill Dobbins on the 2004 reissue liner notes: "The Charles Lloyd Quartet was being managed at the time by George Avakian, an experienced producer and A&R man who had worked for Columbia Records and signed such jazz legends as Louis Armstrong, Duke Ellington, and Miles Davis to their roster.

( .. ) The combination of Charlie Haden and Paul Motian probably seemed incongruous to most musicians before they actually heard the musical results of the session, but it points to one of the important aspects of Jarrett's uncanny creative intuition.

Jarrett had a strong affection for both and realized that aspects of their musical attitudes could not only work compatibly with each other but could also result in an entirely different kind of trio.

Although this trio didn't romp in the more traditional manner of the Lloyd group when it had a full head of steam going, their music certainly managed to swing in its own way.

And it had a wide-open, searching quality as a result of the courageous assemblage of a band whose members played quite differently from one another but shared more than enough common ground to enable the music to cohere convincingly.

"[7] In a review for AllMusic, Jim Todd wrote: "Haden rumbles, throbs, and drones, marvelously lost in bass reverie.

With brushes alone, his sonic palette includes frantic, flapping, prehistoric birds caught in drain pipes and 60-pound bags of sand pelting into banks of fresh snow.

In a program of originals and one standard, Jarrett feeds off his partners with strategies informed by key influences from Bill Evans to Cecil Taylor.

The... track seems now like quintessential Jarrett with a hint of a boppish turn in the melodic phrase, an exuberant rocky flourish to resolve the harmony and slivery, fluid runs launching the improvisation.