In JazzTimes, Duck Baker wrote: "A less known figure, Brown is nevertheless a wonderful player; his style basically as it was in the ’50s, occupying sort of a middle ground between Warne Marsh and Lester Young. It’s interesting to note the subtle difference in Konitz’s approach here, compared to his work with the like-minded Marsh. ... I’ve always felt that returning to this material brings out the best in Konitz, and it’s great to hear Brown again".[6] On All About Jazz, Marc Corotto noted "This reunion in a pianoless quartet is all about their mentor, Lennie Tristano. His music (their music) of the 1940/50’s paralleled bebop, but in a complex multi-layered way. Tristano was said to have instructed the two to play “...deliberately uninflected, in a neutral tone, concentrating instead on the solo.” This style, reflected on this release, is anything but unemotional. Konitz and Brown’s cool tones create a delicate internal tension that is and was a bridge between Charlie Parker and Ornette Coleman".[7]