1969 US original stereo Presswell pressing. Strong, glossy VG++/NM- vinyl. Jacket shows light seam wear and corner rubs. A stacked line up of musical magicians, produced by Joel Dorn. "There Is No Way To Make A Record That Suggests Detroit Without Rhythm, And Lateef Employs Plenty Of It Here In His Choice Of Musicians: Conga Players Ray Barretto And Norman Pride; Tootie Heath On Percussion; Cecil McBee, Roy Brooks, And Bernard Purdie; Electric Bassist Chuck Rainey; Electric Guitarist Eric Gale; Pianist Hugh Lawson; And A String Quartet That Included Kermit Moore. In Other Words, The Same Band From The Complete Yusef Lateef With Some Funky Additions. The String Section, As Heard On The Opener "Bishop School," "Belle Isle," "Eastern Market," And "Raymond Winchester" Is Far From The Pastoral Or Classically Seeking Group Of Recordings Past, But Another Rhythmic And Melodic Construct That Delves Deep Into The Beat And The Almighty Riff That This Recording Is So Full Of. For All Of The Soul-Jazz Pouring Forth From The Blue Note And Prestige Labels At The Time, This Album Stood Apart For Its Eastern-Tinged Melodies On "Eastern Market"; The "Black Bottom," Gutbucket, Moaning Bluesiness On "Russell And Elliot," With Gale And Lateef On Tenor Trading Fours In A Slowhanded, Low-End Groove; And The Solid, Motown-Glazed, Rocking Latin Soul Of "Belle Isle." The Album Ends Curiously With The Nugget "That Lucky Old Sun," Played With A Back Porch Feeling, As If The Urban-Ness Of The Set, With All Of Its Polyrhytmic Intensity And Raw Soul, Had To Be Tempered At The End Of The Day With A Good-Old Fashioned Sit In The Yard As The City's Energy Swirled Around Beyond The Borders Of The Fenced Lot. Lateef Blows A Beautiful Tenor Here, Using A Motif From Sonny Rollins' Version Of The Tune And Slides It All The Way Over To Benny Carter In Its Sheer Lyricism. It's The Perfect Way To Close One Of Lateef's Most Misunderstood Recordings.” All Music Guide - Thom Jurek.