Gretchen Bender designed the video imagery for the piece, and rock guitarist Vernon Reid contributed music for the "Here" section. Jones spoke of Frazelle's contribution: "In these songs, he evoked survivors' revelations, states of mind, moments of intensity, with a power and specificity only poetry can deliver." In the Washington Post, Alan Kriegsman described it as "the perfect amalgamation of music, visual imagery, and kinetics. Kenneth Frazelle's music for 'Still' for the Lark Quartet and the staggering vocal soloist Odetta, with percussionist Bill Finizio, makes one think of the late Beethoven string quartets and their otherworldly perfection." The New York Times remarked "part Schubert, part Kurt Weill, Mr. Frazelle"s songs have their own lyric beauty." "Still/Here" had its international premiere in Lyon at the Biennale Internationale de la Danse in September, 1994. The US premiere was on the Next Wave Festival at the Brooklyn Academy of Music. The work toured internationally for two years. It was filmed for Alive TV and seen by millions of viewers. The media journalist Bill Moyers made a documentary about the making of “Still/Here.” Considered one of the groundbreaking dance works of the latter part of the twentieth century, Newsweek reported “ ‘Still/Here,’ a work so original and profound that its place among the landmarks of 20th century dance seems ensured.”  "The New Yorker" dance critic Arlene Croce ignited a major journalistic controversy when she refused to review the piece: “In quite another category of undiscussability are those dancers I’m ‘forced’ to feel sorry for because of the way they present themselves: as dissed blacks, abused women, or disfranchised homosexuals—as performers, in short, who make out of victimhood victim art. . . Bill T. Jones seems to have been designated by his time to become the John the Baptist of victim art. (His Christ was Arnie Zane, who died of AIDS in 1988.) . . . Only the narcissism of the nineties could put Self in place of Spirit and come up with a church service that sells out the Brooklyn Academy.” Periodicals and newspapers worldwide contributed to the debate. Disagreeing with Croce’s rejection of “Still/Here” were playwright Tony Kushner, writer Joyce Carol Oates and columnist Frank Rich.