[4][7][8] In a review for Jazz Journal, Elliot Marlow-Stevens wrote: "Capturing brilliant and organic improvisation, The Summer House Sessions offers a fascinating glimpse into Cherry's world of musical research and experimentation.

"[9] Giovanni Russonello, writing for The New York Times, stated: "The horn players all trade themes and motifs in a star burst of high-velocity improvising, sometimes coming together into cohesive, beboppish lines, like an ornate assemblage being thrown together on the roof of a fast-moving car.

"[13] In a review for Aquarium Drunkard, Tyler Wilcox wrote: "It's wild and occasionally dense stuff, but the primary feeling that comes across is childlike wonder, a joyful innocence that saturates every moment.

"[14] Jennifer Kelly, in an article for Dusted Magazine, praised the album's "warmth and immediacy," and noted: "there's a wonderful sense of play and cross cultural collaboration in these cuts."

Don and Moki would generally demur at the notion that their work might be considered 'political', but the rejection of leaders is an inherently political act no matter how one chooses to frame it.