[1][2] In a review for DownBeat, Herb Boyd stated that, in comparison with his work with Cecil Taylor and Albert Ayler, "on Homework... Murray is no less relentless, and the signature musicality he derived from his drums is readily apparent on the occasions when they blend with Bob Dickie's bass clarinet.

"[3] Pierre Crépon and Marc Chaloin, writing for The New York City Jazz Record, commented: "The session sounds completely improvised, of the 'let's go in and see what happens' variety.

And what happens is quite surprising: Murray's main register here is not the free pulse he is known for, but grooves that tread binary grounds... 'Why You Need a Lawyer When Your Pants on Fire' is... a remarkable opportunity to listen to elements of the drummer's classic style, as he goes into a fascinating interiorized dancing, anchored by his left foot hi-hat work...

"[5] In an article for All About Jazz, John Sharpe stated: "Murray tailors his playing to the situation, fitting in with his confreres, though also displaying enough of the unruly embellishments and dashes of brilliance which made his name.

"[4] Edwin Pouncey of JazzWise remarked that the recording finds Murray in "fine form as he effortlessly jams along with Dickie's weaving bass patterns and Andreano's bouts of Hendrix-meets-Sharrock styled fluid guitar-playing... the intimate vibe that permeates the set is both endearing and, after several replays, teetering on the edge of becoming enduring.