The authors of the Penguin Guide to Jazz Recordings awarded the album three stars out of four, and wrote that the track titles were presumably the result of an effort to ground Coleman "in the psychoanalysis-obsessed Zeitgeist" and "[lend] weight to those who thought that Ornette's music and musical philosophy were for the couch rather than the concert hall or club." They note LaFaro as "a more forceful and harmonically challenging player than Haden."[6]
In a review for AllMusic, Brian Olewnick commented that Coleman is found "plumbing his quartet music to ever greater heights of richness and creativity," concluding that the album was "a superb release and a must for all fans of Coleman and creative improvised music in general" and particularly praising drummer Ed Blackwell's performance.[4]
Writing for Pitchfork, Alex Linhardt stated: "It's another impressive, comfortable record by someone who knows that racket extraordinarily well. It may not quite match the audacity and shock value of Free Jazz, but when you've just razed the scaffolds of structured music, it's probably as good as you're going to get."[7]