This live album is a collection of improvised works for large ensemble made by the Primitive Arkestra from 2008 and 2013. The group ranges from quartet to 12-piece, all directed by pianist/conductor David Haney and featuring Julian Priester, Roy Campbell, Steve Swell, Adam Lane, Frank Clayton.

David writes: "The musical groups vary on most selections, offering a snapshot in time of the life of Primitive Arkestra. Julian Priester, Roy Campbell, Steve Swell, Adam Lane, Frank Clayton are but a few of the amazing artists included. A few of the pieces were conducted by me, others I directed from the piano. The themes are simple and secondary to the forms. In setting up the pieces there were no rehearsals, and the instructions were intentionally kept to a minimum. This album is dedicated to the many members who contributed so much. Special thanks in memory of the late Roy Campbell. The Arkestra was blessed with his presence and performances at the I-Beam in Brooklyn, NY for the 2013 Cadence Fest. Thanks Roy!"

The collective personnel is: David Haney (piano, conductor), Julian Priester, Steve Swell, Stan Nishimura (trombone), Marc Smason (trombone, shofar, digerydoo), Dan Blunck (tenor saxophone, flute), Blaise Siwula, David Bindman, Avram Ferver (saxophone), Roy Campbell (flute, trumpet), Oleg Ruvinov (tuba), Rosalyn DeRoos (clarinet), Doug Haning (contra alto clarinet), Matt Cercily (mandolin), David Arner, Bob Reina, Constance Cooper (piano), Frank Clayton, Adam Lane, Chris Jones (bass), Nadya Kadrevis, Michael Wimberly, Juan Pablo Carletti (drums) and others

“Led by pianist David Haney, 31 top US jazz musicians took part in five sessions from 2008 to 2013 to create this powerful album invoking the memory of the epochal alto saxophonist Eric Dolphy (1928-1964)...Freedom Thirty Five has the two trombones of Priester and Smason together again, with the acidic tones of De Roos's clarinet flying out above them and over the rhythmic propulsion which defines an album of rhythm, freedom and collectivity, where no single sound dominates and where all who play are equal.” - Chris Searle, Morning Star

“Most of the groups feature quite nimble rhythm sections, and this puts the spotlight nicely on the spiky and inquisitive piano often heard (usually, but not always Haney himself) and the abundance of great horn work, alternating between texture and avian post-bop lines. "Leopard’s Boulevard" is a fine example of this union, as is "L.T. Ruckus," with its spacious and drifting horns, and loads of textural variety (I particularly liked the contrast between Campbell’s flute, Lane’s groaning low end, and Swell’s puckish mute work)...a rich, detailed and satisfying release overall.” - Jason Bivins, Cadence Magazine

“Remember Uncle Two Brains features a sonic palette enhanced considerably by the didgeridoo's presence and Matt Circely's mandolin, both of which further subvert music already at odds with the ever-increasing and often banal mainstream. Haney the pianist is arguably one of the very few musicians to have come to terms with Cecil Taylor's galvanic influence.” - Nic Jones, Jazz Journal

“The deeply swinging and happily pulsating "Dolphy's Hat" which includes some wonderful moments with Clayton ‘s bass, Priester's horn and DeRoos' stick. Other shorter pieces such as the chirpy "L.T. Ruckus" and the pulsating and restless "Leopard's Boulevard" have some wonderful ensemble moments along with the late Roy Campbell's flute on the former, while long and anguished tones dominate "Desolation Row." Free, but with minimal cacophony to distract.” - George W Harris, Jazz News

“Haney's approach very much allows the players to contribute the maximum imagination, ingenuity and inspiration to their individual roles and this enhances both the author's opus and the cooperative overlay. Don't go looking for tunes; rather bask in warm currents and gentle winds, restrained discourse and background colours which are intense...It's gorgeous.” - Ken Cheetham, Jazz Views