In 2011, Ricardo Villalobos and Max Loderbauer used samples of The Jewel in the Lotus as the basis for the track "Rensenada" on the remix album Re:ECM.
The editors of AllMusic awarded the album a full five stars. Thom Jurek called it "a true jazz classic," and wrote: "The true worth of Jewel in the Lotus is that perhaps no other bandleader at the time could bring together players from such different backgrounds and relationships to his own musical development and make them interact with one another with material that is scored so closely and whose dynamics and tensions are so pronounced and steady... This album sounds as timeless and adventurous in the present as the day it was released."[1]
The authors of The Penguin Guide to Jazz Recordings described the album as "a record that steals into the room and leaves again without introductions, but without attempting to be pointlessly enigmatic."[4]
In a review for Pitchfork, Shuja Haider stated: "Though Bennie Maupin is listed as the leader, The Jewel in the Lotus defies assumptions about the hierarchy of musical composition and performance... Even when an individual speaks alone, it suggests, the collective listens together, and there is no higher calling than accompanying others."[2]
The Guardian'sJohn Fordham commented: "The rich soundscapes of Bitches Brew and early Weather Report are strong references, with Maupin far more of an enabler and a colourist than a flat-out soloist. But his rich tapestries are more acoustic than most early 1970s fusion... and this is an absorbing collage of long flute sounds over marimba vamps and loosely impressionistic percussion, water-churning noises and electric keys washing around brooding bass clarinet lines, airy soprano melodies over Buster Williams' bowed bass."[5]
John Kelman, writing for All About Jazz, called the album "a masterpiece," and remarked: "Maupin's writing is often marked by richly distinctive lyricism, but it's the ongoing interplay of this sextet/septet that makes the album so remarkable. Like the attention to space paid by the three percussionists, there's a gossamer-like ethereality to these extraordinarily multi-directional conversations."[6]
Brian Payne of Jazz Journal wrote: "This is a strange and at times haunting album. It's invariably wistful and is a classic example of 1970s spiritual jazz."[7]