[1][2][3][4][5][6][7] Regarding the Psi reissue, the authors of The Penguin Guide to Jazz Recordings wrote: "There are solo spots, but it is in the interplay between two of the five defining figures of British improvisation... that the real value of the set lies... this still seems fresh and inventive, for all its standing as a memorial to lost friendship.

"[10] John Eyles of All About Jazz stated: "close listening reveals [Bailey's] usual trademarks, not least his total avoidance of clichés, licks, or anything smacking of pre-preparation... Parker is instantly recognisable as the precursor to his modern day self... it is the chance to hear the two masters interacting and bouncing ideas off each other that makes this release historic.

In the intervening years, Bailey's desiccated shards and Parker's serpentine lines and shattered multiphonics have virtually defined the vocabulary of countless musicians.

"[12] In The Wire Primers, Philip Clark noted that "the performance touched on perfection," and wrote: "In the opening moments, Parker circumnavigates Bailey's sexily elastic microtonal lines before he can spot a convincing way in.

"[14] Ken Waxman of JazzWord singled out "Part 3" for praise, commenting: "Spectacularly, shredded split tones and irregularly pitched vibrations... explode all over the aural space, causing Bailey to turn to harder plectrum interface, as node response swells into unique counter patterns.