[7] According to author Benjamin Looker, several of the musicians who were scheduled to participate in the recording session, fellow members of the Black Artists Group (BAG), failed to show up, leaving Hemphill with a quartet.

[8] Mike Shanley of Jazz Times commented: "Dogon A.D. suffers from sonic shortcomings inherent in the original tapes, with distortion and static popping up in a few places.

"[2] In a review for All About Jazz, Troy Collins described the album as an "historic masterpiece," stating that it "is widely considered the missing link between the avant-garde and populist forms such as blues, funk and soul," and writing: "Dogon A.D. is a timeless masterwork culled from the crossroads of African-American music traditions.

"[3] Writing for The Absolute Sound, Duck Baker remarked: "Abdul Wadud... could make his axe combine the functions of a jazz bass and a Mississippi Delta guitarist.

"[9] In an article for NPR, Kevin Whitehead referred to Dogon A.D. as "one of the startling jazz recordings of the 1970s, a rethinking of possibilities open to the avant-garde," and commented: "Hemphill made other great albums on his own...