by Stephen Thomas Erlewine 　　On Set Us Free, his final album for Blue Note, Reuben Wilson decided to break down the borders of his funky soul-jazz and incorporate such flourishes as electric sitar, harps, congas and a dominant, overly arranged vocal choir. These embellishments tend to overshadow Wilson's fine playing, and they also mean that the group can never work up a real groove. Still, there are moments that work on the record, and there's a certain bizarre quality to these overstuffed arrangements that make it an entertaining artifact from the early '70s.