Emmanuel Abdul-Rahim died in fall 2022. Reception In a review of the concert, Elisabeth van der Mei described the music as "exhilarating," writing: "Rashied Ali has now completely replaced Elvin Jones. Pharaoh Sanders more and more collectively improvises with Coltrane, who himself plays solos for sometimes 30, 40 minutes having his audience transfixed by the sheer mystery of his force." Gary Giddins stated that the album, "with explosive readings of 'Naima' and 'My Favorite Things,' is an unbridled souvenir of Coltrane's last band at its best: nothing mystical or arcane, no verbal chanting, very little scene setting — just two strenuously effective post-Ascension performances." In a review for AllMusic, Thom Jurek wrote that the album "is certainly not for Coltrane newcomers, and may indeed only hold value for his most ardent followers despite its many qualities." Writing for All About Jazz, Robert Spencer praised Pharoah Sanders' solo on "Naima," writing: "his solo here shows in its melodic invention and fervent lyricism that Coltrane wasn't deaf when he asked him to join the band. He knew he would be able to hold up his end, and he does; too often his work in the late Coltrane quintet is overlooked for its style, rather than appreciated for its real substance." He concluded: "People talk of 'late Coltrane' as if all of his music after A Love Supreme sounded the same, but actually the music on this disc is much removed from the likes of Ascension, Om, or Live in Seattle... Not for all tastes, perhaps, but essential for the musically adventurous." Ben Ratliff wrote that the recording of "Naima" "worked with wicked effectiveness," and states: "Sanders's solo on this 'Naima' begins with abrasive huffing and scrambling, not dissimilar from a sound Archie Shepp liked to get; it works through wild passages of fast and repetitive playing, terrifically ugly challenges of squelched and shrieking sounds, and hoarse, brawny tours through sections of the melody. The performance is full of personality, full of its own sound, not at all boring. Sanders uses almost purely metamusical logic—intuitive gestures of the emotions, of the nerves—to make the seven-minute solo cohere. With Coltrane, on the other hand, who plays two shorter, more driving and traditionally dramatic solos around Sanders, you always seem to be keeping your eye on the resolution about to come. All that he plays exists in relation to the harmony and melody of the