[5] Milford Graves recalled: "After the New York Art Quartet recording, Bernard approached me and asked me to do something.

"[7] Regarding the recording session, Stollman stated: When Giuseppi made his first album for ESP, I stood with Richard L. Alderson, the engineer, in the control room.

So, Richard wound it back and played some bars of it and hit the record button, and they resumed exactly what they were doing—there was no way of telling where the break had occurred.

"[9] Writing for The Wire, Pierre Crépon wrote that the album "is widely considered a free jazz classic, its use of odd meters and non-Western instrumentation preceding their common acceptance".

[11] In an article for the New York Times, Giovanni Russonello wrote that on the album, "harmony, rhythm and melody became agents of texture and suspense: Whether Mr. Logan is playing in apoplectic fits or in a long atonal smear, the radical open-endedness of each moment is palpable.