"[9] In a review for AllMusic, François Couture wrote: "the mesmerizing, hypnotizing effect works great and the technique is simply stunning... Lines Burnt in Light stands as one of if not the best document illustrating the man's circular breathing/playing.

"[1] The authors of The Penguin Guide to Jazz Recordings stated: "Parker fires off incredible streams of notes, but here he is able to use the church acoustic almost like a studio reverb, building layers of harmonics to almost unbelievable levels... no one... will leave the experience unmoved and unimpressed.

"[8] LA Weekly's Tony Mostrom described the music as "a fully integrated, virtuosic horizontal line of intricate complexity on which fluttering motifs emerge, repeat at times and submerge back into the flux, recombining endlessly," and commented: "these tightly packed DNA coils of twittering duck calls and bird chirps... remind one of Heraclitus' famous river, the one you can’t step into twice.

"[12] Writing for One Final Note, Derek Taylor commented: "Parker's breath, regulated through moist receptacle of reed, creates a continuous funnel effect of braided multiphonic streams that slip through his horn's bell and are expunged in radiating gouts into the air.

The sounds approximate a range of natural sonic phenomenon from bone-dry wind whistling through paint-chipped eaves, to the hungry colloquy of infant songbirds, to the manic twisting of an antique radio dial through a register of revolving frequencies.