According to David Keenan, Ayler dressed for the concert "like he had just beamed down from the mothership, sporting a white oriental dress and a sombrero." During his stay, Ayler found time to visit the art exhibition, and became enamored with the paintings of Marc Chagall. He also participated in interviews with Caux and Kiyoshi Koyama of Swing Journal; these were recorded and later released on Holy Ghost: Rare & Unissued Recordings (1962–70). Cobbs arrived in time for the July 27 concert, and the performance elicited a very positive reaction from the audience. During the concert, Ayler turned to Cobbs and said "Let's play something I don't normally do... Let's play the blues." According to Cobbs, when the piece, identified as "Holy Family" on the track listing, concluded, "the people went wild about it". David Keenan wrote that "the Maeght concerts were a huge success and many people had to be turned away on the night." Both concerts were filmed, and footage was later released by Jean-Michel Meurice as Albert Ayler: Le Dernier Concert. On July 28, Ayler played for an invited group of fans at La Colle-sur-Loup, where he was staying; recordings of four pieces performed that day were released on Holy Ghost: Rare & Unissued Recordings (1962–70). Following the success of the Maeght Foundation concerts, Caux began planning another concert, featuring Ayler, that would take place in early 1971, followed by a tour. These never came to pass, as Ayler was found dead in New York City in November 1970. Reception Scott Yanow, writing for AllMusic, called the album "quite memorable," stating that the recordings represent Ayler "at the height of his powers" in a context in which he is able to "stretch out and 'preach' in his emotional and unique style". In a review for All About Jazz, Mark Corroto wrote: "The significance of this historical recording is not its revelation but in the rawness of its presentation... Ayler peels away the accessibility that was his Impulse! recordings for a raw sound. He merely hints at the marches and the spirituals before erupting into stratospheres of sound... his deconstruction pares the music to its essence." Val Wilmer called the album "the declaration of an artist who has considered all the possibilities, and now offers this as a refined statement of his musical self", and noted that "many of the figures, themes and the feeling itself sprang directly,