Peter Watrous of The New York Times included the recording in his list of the top ten jazz albums of 1995, calling it "one of [Tyner's] best albums in years."[6]
The San Diego Union-Tribune's George Varga featured the album in his list of "five of the more memorable albums in [Tyner's] extensive discography," praising both his "eclectic musical choices" and "his talent-rich young band."[7]
In a review for the Los Angeles Times, Don Heckman called the album "impressive," noting that "although the dynamic between Tyner and Redman is very different from that of the classic Tyner-John Coltrane affiliation, each musician seems powerfully (and understandably) stimulated by the responses of the other." However, he described the inclusion of the Beethoven excerpt as a "noticeable misstep... absurdly misconceived."[2]
Writing for AllMusic, Ken Dryden stated that the album "adds a different twist from what one typically expects of the pianist," and commented: "This release is definitely off the beaten path for McCoy Tyner, but it is well worth acquiring."[1]
The authors of The Penguin Guide to Jazz Recordings remarked: "The saxophonists play well, but this kind of session has become a commonplace which Tyner doesn't especially respond to. He plays professionally... without ever getting into his top gear."[3]