Davis himself did not contribute any compositions; three are by tenor saxophonist Wayne Shorter, two by pianist Herbie Hancock, and one by drummer Tony Williams.

This album, along with others by this particular group, demonstrates their willingness to fundamentally alter the basics of a composition during the recording process.

On the next two takes (including the released version) it is rendered at a fast tempo in predominantly 4/4 time.

DownBeat writer Howard Mandel said it "seems perched on the cusp" of innovation, with "perfectly pitched" performances and trumpet ideas marked by "cyclical melodies, subdued in mood and sonically bejeweled", but lamented that the solos "revert to regular rhythms", limiting the music from more transcendent possibilities.

"[11] Stephen Thomas Erlewine of AllMusic was more enthusiastic about its relatively subtler "charms" while finding it a clear forerunner to the jazz fusion that followed: "What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring.