In his review for Allmusic, James Manheim notes that "the music is generally absorbing, and fans of Zorn and his followers may want to tease out the processes over repeated listenings".[2] On All About Jazz Kurt Gottschalk said "Both players are extraordinarily sensitive in going toward and away from their instruments' orthodox voices. With her background in European avant-garde composition and improvisation, Courvoisier tends to bring more abstraction to the picture, whereas Feldman—with his long history as an interpreter and session player—is more the melodicist. But what's important is how well they intuit meeting grounds across the 11 pieces here".[3]
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