This recording is being depicted as the missing link in
Russell's discography, posthumously released from sessions done with bassist Mike Staron apart from
the NRG Ensemble.
Russell's tenor sax or trumpet work is quite beholden to the stance of
Ornette Coleman, and
Albert Ayler's influence is clear and present. Rick Shandling drums on four of the nine tracks, and Bradley Parker-Sparrow plays piano on another three. Staron's major role in these collective improvisations cannot be overlooked, he is an equal partner firing up
Russell's highly spontaneous notions. At his most gargantuan from a compositional standpoint, "Who's There?," at over 25-plus minutes, allows
Russell, Staron, and Sparrow to weave in and out of motifs and themes. Door knocking leads to insistent bass and fleeting piano chords, which in turn inspire
Russell's trumpet and tenor discourses. Sparrow and Staron get to stretch out briefly as
Russell's more hyper-melodic side comes out, Sparrow's cascading pianistics,
Russell quoting
Ornette's "Dancing in Your Head," and a near polka bass buoy the leader before a peaceful piano segment and bass solo end the piece. "Aural," at almost 15 minutes, has
Russell's soft, spoken trumpet more demonstrative, then in marching or dancing patterns. The shorter pieces include the quasi-free bop workout with bass and drums, "Edge of Night," no-time squawking, and singing sax and bass on the title cut, and
Ayler's "Vibrations" sporting interactive call and response between drums and sax. "Kyrie & Agnus Dei" has
Russell's bleating trumpet. It's inquisitive at times, at others probing, while the minute-plus "To Groove" with Staron and Sparrow starts with percussion sounds, a two-note bass beat, and a development far too brief. Staron goes solo on a bass interpretation of
Ayler's "Ghosts" with bird-like echoes at the end. He also presents a live, modular Moog synthesizer composition, "W," starting with whooshing sounds, then a rhythmic 5/4 static short, sparse and dense space oscillations, then a whoosh landing.
Russell's staunch individualism in creative improvised music was far too infrequently documented, so for fans this will prove an invaluable piece of the big puzzle. ~ Michael G. Nastos