The Allmusic review by Thom Jurek states "this is yet another criminally underappreciated Rahsaan Roland Kirk recording from the last phase of a remarkable career. This is perhaps Kirk's most experimental recording in that it involves his most involved performing on multiple horns and flutes — including his infamous and wonderful nose flute — and working with drones on a more surface level. Given Kirk's system of playing three horns at once, the drone horn was always a part of his sonic architecture. The difference here is that the melodic and improvisational lines take a back seat... There are numerous metaphors and metonyms here, but they will not come to the listener until later, when she or he regains the conscious notion of breathing".[4]
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