The album presents Rutherford in a variety of contexts: two solos, one with electronics, and one without; a brass quartet that features trombonist George E. Lewis, French hornist Martin Mayes, and tubist Melvyn Poore; and a trio with bassist Paul Rogers and drummer Nigel Morris.

[1][2][3][4] In a review for All About Jazz, John Eyles called the album "One of 2009's very best," and stated that the tracks "give a good impression of Rutherford's talents and the breadth of his musical vision...

"[5] Troy Collins of Point of Departure wrote: "these sessions detail how the trombonist incorporated innovative techniques, a distilled knowledge of jazz idioms and humor to thoroughly creative ends.

"[7] A reviewer for The Free Jazz Collective called the recording "an interesting album for fans of Rutherford," and commented: "The non-electronic solo performance and the brass quartet alone would have made a great record.

"[6] Writing for Paris Transatlantic, Nate Dorward described the solo set without electronics as "prime-cut," and remarked: "The density of event is extraordinary, the ideas cut into each other at a bruisingly rapid clip and every so often squashed down in half-strangled protestations, as Rutherford spars joyously with the quirky amplifying properties of his surroundings.