[1][2] In a review for AllMusic, Scott Yanow called the quartet piece "quite coherent, full of energy, and worth a few listens" despite the fact that the four musicians had not played together prior to the performance.

"[1] The authors of The Penguin Guide to Jazz Recordings stated that Melford's contribution is "crisp, responsive, and engagingly short," while the quartet tracks "ramble portentously.

"[3] Bill Shoemaker of JazzTimes described Melford's track as a "poignant, blues-drenched, space-sensitive piece" that "taps both the pianist's strengths as a balladeer and her strong rapport" with her sidemen.

Regarding "For Bill Dixon I," he noted "Morris' skitterish bow effects, Bergman's swirling piano clusters and McPhee's spattered flugelhorn fragments" leading to a "culminating well-sculpted ensemble statement," while part II ends with "the aural equivalent of watching a hurricane disappear on a time-elapsed weather map.

He praised McPhee's saxophone work, stating that he "refuses to follow trends, and his playing is as fresh and inventive as ever," spitting out "jagged shards here, honey-coated laconic droplets there."