Parran, Ernst-Ludwig Petrowsky, Louis Sclavis, and John Zorn, trumpeter Toshinori Kondo, trombonists Alan Tomlinson and Johannes Bauer, double bassist William Parker, and drummer Tony Oxley.

"[9] AAJ writer Clifford Allen called Berlin Djungle "a highly melodic work, yet still process-oriented," and noted: "this process is additive, featuring juxtapositions of woody textures and shrill overblowing or lithe clarinet lines and dense masses of sound from bass and trombones... and it wouldn't be Brötzmann without madcap theatrics.

"[10] The authors of The Penguin Guide to Jazz Recordings remarked: "This is certainly still within the realms of 'European free', but these two large slabs of music... have a logic and timbre that somehow does move closer to American models.

"[12] Writing for Dusted Magazine, Charlie Wilmoth commented: "The most important turning points on Berlin Djungle always seem to happen when the excellent Oxley starts or stops playing.

"[13] In an article for JazzWord, Ken Waxman called the album "a singular experience" that "produces some memorable textures and must be admired for Brötzmann's decision to broaden his compositional range.