[1][2][3][4] In a review for AllMusic, Steve Loewy called the album "an extraordinary recording," and praised Feza's "ability to create astonishing solos at lightning speed in a largely unfettered environment."

"[1] The authors of The Penguin Guide to Jazz Recordings described the album as "an unstructured rehearsal session involving musicians whose common ground is probably more hindrance than help," but noted that "almost anything that survives of Mongezi Feza is worth preserving.

"[5] Critic Tom Hull stated: "at last the South African trumpeter... gets something in the catalog under his own name... this is very free, loose, and noisy, typical of the anarchic avant-garde that flowered in Europe in the early '70s, which means that it depends on its own energy and good cheer to succeed -- which it delivers.

"[6] Andrey Henkin of All About Jazz commented: "The tight flow of Rosengren's saxophones against Feza exclamations, propelled along by a band that probably never heard such sounds in their life..., makes this a valuable document.

"[8] In an article for One Final Note, Marc Medwin wrote: "these collective improvisations show adventurous allegiance to all manner of jazz prototypes—blues, swing, hard bop and the occasional appropriation of a pop tune...