[5] In an AllMusic review, Michael G. Nastos awarded the album four stars, calling it a "distinguished document", "a treasure", and "a fascinating display of understated, purely improvised music that is eminently listenable, beautifully conceived, and flowing through past, present (circa 1965) and future resources.

"[7] In another review for All About Jazz, Jerry D'Souza wrote that the album "serves well to define the extraordinary talent that was Lowell Davidson", and commented that Peacock and Graves "work well in the free flowing and changing dimensions he sets up, ready for his every whim, alert to his agile shifts".

Almost mimicking the human voice that is singing in short thrilling phrases, Davidson's songs are like vocal necklaces comprising gorgeous gem-like beads of notes in elaborately decorative chains of provocative combinations.

[9] The authors of The Penguin Guide to Jazz wrote that despite the fact that the recording is "a technical disgrace, shoddily balanced and with almost no bass presence", "the music is fascinating, immediately different from what's considered to be the dominant Cecil Taylor school.

[10] Writer Mark Harvey called Davidson's album "truly unique", "a poetic distillation of much that was swirling around him yet presented in his own inimitable manner".