George Russell’s Lydian Chromatic Concept of Tonal Organization, which he completed with a fourth published edition in 2001, offers a plethora of theoretical concepts oriented toward creative freedom of expression. Russell began this work in the 1950s and earlier published versions influenced the development of institutional chord-scale theory. However, chord-scale theory as it appears in most jazz programs strips Russell’s work of its philosophical and spiritual tenets and experimental attitude. My research on Russell’s theory and its place in a larger genealogy of music theory grounded in Black American musical life repositions it as a radical and potent music theory for both analysis and creative practice. This workshop will focus on texts that contextualize the creation and reception of Russell’s work, as well as demonstrate how its primary components can serve creative expression. The result is a contextualized view of music theory in relation to Black music as well as renewed appreciation for what Russell’s work offers the contemporary musician.