The release comes in the form of a CD, which is presented in a clear jewel case. With a 22 page inlay booklet, which nicely discusses each of the three pieces, re-prints text from those with singing, and gives a bio for each of the players on each of the three tracks.

First up we have 1968’s "Songs, Drones, and Refrains of Death" which is for  baritone, electric guitar, electric contrabass, amplified piano/electric harpsichord, and two percussionists. This version here was in recorded in the summer of 1990, and as it’s sonic make-up suggests it’s quite a jarring/shifting work, moving from: sudden loud runs of bashing percussion & shouted voices. Wondering Spanish/ surf/ jazzy electric guitar elements with flamboyant operatic spoken voices, & sudden percussive textures . More harmonic & rich baritone vocalising mixed with  piano stabs. Darting &  dramatic Oriental melodies played out on percussion & harpsichord, blends of moody piano runs & dramatic vocalizing, and  beyond. Here the just over twenty five minute piece is index into two tracks, and it really is a musical/sonic adventure, as even after a few plays through you are still surprised by quite/ loud shifts & sudden pace changes.

Next-up we have the piece “A Little Suite For Christmas, A.D”, and as it’s title suggests this fifteen minute work was composed in 1979, and  this version was recorded in 1982 by pianist Lambert Orkis( who it was originally written for). This piece( index here into six tracks), finds the player both creating formal keyboard based melodies/ playing, as well as extensive use of the piano interior taking in string harmonics, pizzacatia & beyond. The piece opens with a wonderfully selection of slowly plodding & suddenly darting notation- these very much summon up the melancholia feel of winter time. As the track processes on we shifted from more hopeful & lulling melodic runs, sudden dramatic & rapid stabs, more ornate & gentle blends of string pickings & moody/ fleeting piano notation. Though to more deep & doomy meets flighty 'n' higher oriental  notation. On the whole it really is an amazing piece, that shifts both in pace & execution, with the original melancholic melody skilfully reappearing from time-to-time. Though I enjoy all three pieces here I’d say this is my favourite.

Last up we have "Apparition", which was also composed in 1979. It’s a piece for mezzo- soprano & amplified piano, and comes in at just over the twenty two minute mark. This playing of the work is from 1982, and features Jan DeGaetani( mezzo-soprano) & Gilbert Kalish( amplified piano). The piece here is index into eight tracks, and is built around a shifting & often jarring canvas of wobbling, soaring, and simmer vocals. And varied piano notation which shifts between violent & bounding runs, taut higher noted scuttling, string pickings & internal piano sounds, and more moody/ spaced out wonderings.  Like the first piece on this collection is another very unpredictable work- shifting between quite & pared back, to more pronounced & violent- so it’s certainly not something to relax or contemplate too.

So in conclusion this a nice & varied collection of Mr Grumb’s work, which shows his ability to create avant – grade composition that is both daring, often moody, but always entertaining. I certainly look forward to checking out more vol’s in this series, and if you are new to Mr Grumb’s work I’d say this is a good place to start.