[1] On the evening of the concert, the organizers did not allow Taylor to use a high-quality, well-tuned grand piano that remained backstage, locked and covered, stating that it was reserved for classical pianists, and he was forced to use an inferior instrument.

This is an epic work that has great strength at its heart, broken up by the odd contemplative moment... when the Unit is firing in full, dense textures and thrilling interplay make for hurtling music that is multi-layered in its single-mindedness.

The excellent Lyons is quite traditionally lyrical before breaking into a run, and Taylor's later slowly-developing solo episodes are starkly hypnotic, even if the long-suffering piano doesn't sound too good.

"[5] Rex Butters, writing for All About Jazz, stated: "this leonine work anticipates the increasingly popular juxtaposition of composed/cued/improvised elements artfully juggled to the delight of listener and musician alike... this collection captures giants performing in an inspirational blaze.

If you can manage to stagger away to a safe distance and gain some perspective, it becomes apparent that Taylor's methodology at this concert was the same as in the studio or on Live in the Black Forest... the ultimate impression is of standing in the path of an avalanche.