"[1] A writer for All About Jazz stated that the album "represents the culmination of her spiritual music via recordings," and commented: "Her Detroit church organist experience is on full display from the beginning.

"[9] The Vinyl District's Joseph Neff called the album "a return to roots but in no way a stylistic backslide" and "a wondrously searching gem," and described "Leo" as "an enthralling showstopper," in which "any lingering talk of the inadequacy of '70s exploratory jazz dissipates like so much hot air.

"[6] The Guardian's John Fordham stated that Haynes and Workman are "perfect foils," and wrote: "Coltrane's highly distinctive organ sound at times resembles Northumbrian pipes, with added sitar-like whirrs and pitch bends, but there are moments of churning chordwork, warped melody and heated climaxes on this session.

"[7] Writing for Spectrum Culture, Daniel Bromfield described the album as "a true masterpiece" and "Coltrane's most convincingly spiritual record."

She knew that it was end of the road for her and some of her loyal, purist followers, and she did a brilliant job of jamming her heart out and, in the process, creating a flawless piece of work.