[1][2][3] In a review for DownBeat, Peter Margasak wrote: "Patience, empathy and a deep affinity radiate from every track, like two good friends getting together to shoot the breeze.

"[4] Clifford Allen, writing for The New York City Jazz Record, stated: "Jackson, despite a fair allegiance to free play, is an improviser whose historical grasp is abundantly clear... Adasiewicz volleys between cascading vaults and the snappy, glassine shifts of a drummer's telepathy, making Rows and Rows a duo delivering plenty of harmonic and rhythmic rewards.

"[5] Derek Taylor of Dusted Magazine described the album as "two players challenging and reinforcing each other in equal measure, their instruments braiding and eliding in an alluring exchange of ideas that occupies the span of an LP and is all the better for the focused brevity.

"[8] In an article for Point of Departure, Troy Collins noted that the album "uncannily evokes the vanguard spirit of post-war Blue Note sides waxed by innovators like Eric Dolphy, Andrew Hill and Jackie Mclean," and remarked: "Jackson and Adasiewicz demonstrate the sort of congenial interplay that is rarely – if ever easily – heard among the density of larger configurations.

"[9] Writing for Jazz Right Now, John Morrison commented: "Despite its minimal instrumentation used throughout the album, the duo is never found lacking, proposing and elaborating on a wealth of fertile ideas throughout the course of nine relatively short compositions.