... the heart of both musicians' music is their interplay, which depends on a contrast between Turner's long, relaxed lines and Rosenwinkel's fast, anxious fretwork".

[2] All About Jazz reviewer David Adler said, "Dharma Days doesn’t quite stir the adrenaline to the degree that the live show does, the album is still a triumph, capturing a live feel to a far greater degree than many of Turner’s previous offerings ... Turner’s labyrinthine lines and daunting harmonic language continue to set him apart from all of today’s young tenor stars.

[3] In JazzTimes, John Litweiler observed that "Mark Turner’s tenor-sax tone is personal indeed: light, especially in his high ranges, and almost wholly uninflected ... Changes of group textures, tempo and direction are frequent.

The Turner quartet’s idiom is a latter-day version of the modal-to-free explorations by early ’60s Blue Note youth (Hill, Chambers, Hutcherson, etc.).

[4] The Washington Post's Mike Joyce wrote "there isn't a performance on Dharma Days, Turner's latest and most accomplished release, that sounds as if it were arranged with even the vaguest commercial calculation in mind.