[6] According to vocalist and writer Chris Tonelli, "the importance of this series cannot be overstated, for these four records, by confusing and complicating entrenched notions of what vocal sounds are ugly and what are beautiful, challenge a pervasive order of the valuable and valueless.

"[7] When asked about the emotional content of his music, Minton replied: "there are so many sort of subjective associations with vocal sounds...

"[8] The authors of The Penguin Guide to Jazz Recordings described Minton as "a stunning vocal improvisor, with a tonal and timbral range that seems quite uncanny," and wrote: "'Cenotaph' and 'Wreath' are only three quarters of a minute apiece, but overflowing with pain and pride, anger and redemption," while "'Notes on Avarice' and 'Blasphemy' demand frequent recourse to the repeat button.

"[9] Writing for All About Jazz, Glenn Astarita stated: "A Doughnut in Both Hands is not for everyone and will rarely enjoy any long-term exposure via radio airplay; however, the conceptual approach is unique and perhaps revolutionary... You will hear traces of operatic librettos, yodeling, garbled speech, screeching, folksy humor and just about anything he can envision supplemented by an astonishing set of vocal chords.

"[10] In a separate AAJ review, Robert Spencer commented: "Some of it is wrenching to hear; it sounds like a man in pain.