After leaving Blue Note and spending a couple of years in drummer Tony Williams’ band Lifetime, Larry Young signed with the indie label Perception and in 1973 released this wild album of spaced-out jams with dubby, psychedelic production, electrified trumpet and sax, guest sax solos from a pseudonymous Pharoah Sanders, cello, James “Blood” Ulmer on guitar, and about nine percussionists. It’s a beautiful record that fits snugly alongside early ’70s work by Sanders, Herbie Hancock’s Mwandishi, Miles Davis and others. Unfortunately, the label went under a few months after it came out, and it was effectively lost for decades. Since being reissued on CD in the early 2000s, and again since, it’s finally gotten the respect it deserves. Free playing from the horns, dense polyrhythmic grooves, and Young’s dreamlike organ make it both an artifact of a particular progressive era in jazz and rock, and weirdly timeless.

Organist Young was in a wildly creative zone in the late ’60s and early ’70s; he played on Miles Davis’s Bitches Brew, the first three albums by drummer Tony Williams’ Lifetime, and the Carlos Santana/John McLaughlin spiritual guitar summit Love Devotion Surrender. This unjustly obscure 1973 album crosses contemporaneous work by saxophonist Pharoah Sanders (who guests, albeit pseudonymously) with Davis’s On The Corner; Young, guitarist James “Blood” Ulmer, bassist Juini Booth, Cedric Lawson on electric piano, and a roomful of percussionists create a swirling, psychedelic, at times dubby cloud of space-jazz that’s more atmospheric than tune-based, but utterly mesmerizing.