The reissue comes in a mainly black & white inked digipak, that features a 12 page booklet that has a write-up about Marzette’s career, the albums recording & instrumental credits etc. All told it’s an adequate if little sparse bit of packaging.

The album features three tracks in all, and these last between just over the seven & a half minute mark to just shy of the nineteen & a half minute mark. And for the three tracks Watt plays a mixture of tenor/bass Sax & bass clarinet, and supporting to him are: Byard Lanchaster on alto sax, flute  & bass clarinet. Cifford Thomas on trombone & Cornet. Sonny Sharrock on guitar, Karl Berger on vibes,  J.c Moses  on drums, Juni Booth on bass (track three) & Henry Grimes playing bass on the other two tracks.

Watts composed & wrote all three tracks here, and each of the three track move from mournful almost lopsided cinmatics, to fairly manic & urgent instrumental pile-ups, and everywhere in-between. The selection of instruments used here managers to make this a bit more varied & layer distinguishable compared with some free jazz I’ve heard in the past, and in particular the vibes give the whole thing often a quite playfully/ buoyant edge.  As you’d expect the sax players spin, weave & honk complex patterns around each other, as thier backed  by rises in cornet, trumpet, & flute. And the bass darts in & out of the mix, with the guitar scuttling & twisting though the pieces structures, while waves of complex percussive matter move in & out of the mix.

All three tracks here are played with great flare & passion, and on the whole the album mangers to be nicely shifting/ snaking in both pace & composition. By all accounts Watts, along with the members of his collective, made only a few recordings- so it’s nice this is back in print, so it can be enjoyed with the more effective & rewarding releases that appeared under the American free jazz bracket.