[6] DownBeat's Suzanne Lorge stated that the album's two tracks "crackle with intensity," and wrote: "what starts with a simple (albeit out) melodic intro descends into cacophonic splendor before too long.

Even at this relatively early stage of developing set-long improvisations in which he played each of his four axes at length, Rivers had a real command of each and every moment, the considerable merits of McBee and Connors' contributions notwithstanding.

"[11] Dusted Magazine's Derek Taylor wrote: "Rivers leads with a tenor exploration at once extemporaneous and wholly deliberate with bass and then drums aligning to the brisk forward momentum.

"[12] Bill Meyer of Magnet called the album "essential," and stated: "Rivers moves easily between muscular saxophone, airy flute and stormy piano playing, sustaining a thread of invention that never goes slack.

"[13] Commenting for The New York City Jazz Record, Phil Freeman called Emanation a "totally unfettered performance" and "a crucial addition to the Sam Rivers catalogue.