[13] The Philadelphia Inquirer noted that several pieces "contain references to the suitelike Cuban danzon and the agitated high-speed-chase lines associated with Dizzy Gillespie's bebop-era Afro-Cuban hybrid.

"[16] The Los Angeles Times stated that "the music ranges from a son to a mambo, from a danzon to a guaguanco.

"[8] The Hartford Courant thought that Valdés's piano "sounds like a giant modern orchestra powered by a dynamo percussion section.

"[17] The Globe and Mail opined that Valdés's "playing is impressive enough in its power and technical facility, but his showy improvisations have an off-handed glibness that leaves them less than compelling and sometimes even less than fully coherent.

"[18] AllMusic wrote that "Valdés more often than not is all over the keyboard, comfortable with everything from Ravel-ian classical complexity to Bill Evans' introspection to Cecil Taylor-like crunches.