[4] Summers promoted the album by opening the 1991 Montreal International Jazz Festival; he also played shows with John McLaughlin.

[11] The Calgary Herald wrote that "the shift to jazz from rock continues," and praised the "vibrant, fluid guitar.

"[13] The Washington Post determined that "Summers has progressed from the mood noodlings of his earlier solo recordings to solidly structured and arranged pieces.

"[8] The Dallas Morning News concluded that, "this time out, he eschews most of his synthpop inclinations and puts himself in a studio of consummate session players...

"[10] AllMusic called the album "a strong jazz-rock statement," writing that "Summers's guitar covers the spectrum from in-your-face wailing leads to subtle background colorings, with much use of electronic effects.