[1][2][3][4][5] In the album liner notes, Joe Morris reflected: "street graffiti was everywhere back then and much was written about the quality, form and the act of 'tagging'.

Passages of drifting lyrical abstraction, punctuated by off-kilter percussive noises, provide depth to proceedings, but otherwise it's an enigmatic encounter in which Davidson remains elusive.

"[7] DownBeat's Alain Drouot stated that, although "there is empathy between the musicians who carefully react as the improvisation process unfolds," "the performance suffers from a lack of dynamics as well as scarcity in terms of change of pace.

"[8] In a review for The Free Jazz Collective, Stef Gijssels called the recording "magical," and commented: "the music on this album is hard to grasp and hard to describe, but more than worth looking for... all four musicians move as one, creating a unique sound, one that sounds familiar like everyday objects while at the same time revealing some deeper unfathomable things.

Combining the trumpeter's ghostly puffs, the guitarist's sharp twangs and the fiddler's angled multiphonics with occasional metallic string thumps and irregular drum beats allows for few pauses... Perhaps the appearance of Graffiti in Two Parts will tempt someone to release those tapes of Davidson's piano playing that are rumored to exist in the Boston area.