Author Bob Gluck referred to the first half of "Manhattan Cycles: Side One" as shifting from foregrounded solos to what he calls "parallel play," a technique at which the group excelled, and "a performance mode in which all three musicians pursued their own direction while contributing to a shared overall construction. The 'glue' for such performance is a combined energy level, density, texture, and sense of shared purpose."[4] He noted that, due to the trio's cooperative orientation, "The Revolutionary Ensemble had no leader looking in from outside the hub of activity, no Miles Davis to limit musical forays from continuing until their logical end, however anarchic the journey."[5]
The AllMusic review awarded the album 4 out of 5 stars.[6]
A reviewer for Destination Out commented: "Recorded on New Year's Eve, 1972/73, there was doubtless plenty to be bombastic about at that time. But what we get instead is as un-bombastic as it gets. This is perhaps the most revolutionary aspect: no foreground, no background, a cooperative enterprise that enlists every technique at the artists' disposal... The entire performance is a model of interplay."[8]
