... Abou-Khalil's compositions here, as on his other recordings, involve detailed, complex, and labyrinthine melodic structures, though rhythmic invention and harmonic counterpoint add balance and offer tight turns of phrase and dynamic shifts.

[2] In The Guardian, John Fordham wrote "Lebanese oud player, flautist and composer Rabih Abou-Khalil is doing what he does best: situating his shapely instrumental virtuosity within the unique ensemble that combines cafe-accordion whimsy, fluid contemporary jazz, Italian-wedding clarinet, New Orleans street-music tuba and a mix of punchy swing".

[3] All About Jazz said "The international ensemble that performs on Morton's Foot brings its array of influences together for a freeform improv-rich jam that feels joyful even its most pensive moments ...

This is a top pick of 2004, without a doubt" and John Kelman wrote "Abou-Khalil's recordings are never short of completely engrossing, blending his ethnic heritage with spirited and joyous playing in contexts that never cease to surprise.

If an artist came out with but one album as good as Morton's Foot, he/she would be assured a place in jazz history; but the truth is Abou-Khalil manages to succeed at this level with almost every release".