"[2] In a review for AllMusic, Thom Jurek stated: "The physicality Crispell lays down... is based on an innate, and often deliberately shadowed under multi-faceted color schemes, lyricism.

Crispell's songlike playing comes from out of the ethos of Boulez and Messiaen as much as it does from Mary Lou Williams or Taylor or Eric Dolphy.

One can hear the lieder of Webern and even Kurt Weill and Berthold Brecht in her staggered improvisations that seek larger palettes for color, shape, and texture... Crispell has done her job: she's presented a variety of musical languages and intertwined them for the listener to sort.

"[3] The authors of the Penguin Guide to Jazz Recordings awarded the album 3½ stars, and wrote: "The trio... is marked by slow harmonic transformations that largely develop in the bass register, accented by piano right hand and percussion.

They praised Hemingway's playing, stating: "A strong but by no means aggressive player, he concentrates in the spaces in the music, stippling them with detail...