Wildflowers: The New York Loft Jazz Sessions

The albums have historical significance in that they document the New York loft jazz scene of the mid-1970s. Reviewer Scott Yanow stated: "This historic series is primarily for open-eared listeners who are interested in explorative music."[3] He wrote that it "gives one a good idea as to the strength and diversity of the scene of the period"[8] and "is recommended to listeners with open ears."[9] Writing in the Village Voice, Michael Agovino called the recordings "as riveting a document of the time as any that exists."[10]

Author Phil Freeman wrote: "this set... contains an overwhelming amount of truly beautiful jazz performances, by names recognizable to almost anyone with a serious interest in the music... This music is composed, thoughtful, and artistic in every sense. The cliche of avant-garde jazz, that it is mere inchoate bleating, is repeatedly disproved here... This is an astonishing document, sonically wide-open to anyone with an ear for music of the spirit. The performances are varied enough, and sequenced in such a manner, that the most palatable, groove-oriented works will draw the listener in that he or she may appreciate the more abstract, experimental works as well. This music's vitality is timeless; these recordings should be heard by anyone with anything more than a glancing interest in jazz."[11] David Keenan described the series as "essential": "As an aural snapshot of a once in a lifetime moment in jazz, it's unbeatable".[5]

In a 1976 article for the New York Times, Robert Palmer called the albums "the most remarkable documents to emerge from the lofts so far."[12] In a later review for the same publication, Adam Shatz wrote: "There is, to be sure, some unruly, even ugly stuff, but for the most part these sessions undercut the idea that loft jazz exalted energy for its own sake. What's astonishing is the range of expressive styles, from the languid chamber jazz of the saxophonists Julius Hemphill and Oliver Lake to the percussive Africanisms of the pianist Randy Weston and the drummer Sunny Murray to the garrulous New Orleans-inspired blues of the baritone saxophonist Hamiet Bluiett. It was the credo of the musicians gathered at Sam and Bea Rivers's Bond Street greenhouse to let a thousand flowers bloom, and wildflowers they were."[13]

A reviewer for MTV wrote: "There is a uniform brilliance to Wildflowers that makes you yearn to be back amidst these days of freewheeling jamming and musicianly cooperation", and stated that the album "is one of those packages that breathes the sawdust it was built upon. Wish you were there".[14] A review on Jazz Music Archives states: "Wildflowers aren't just compilation - it's very precise historical document from short-lived loft jazz era, recorded at its best time in its best place. Each of five series' albums is unique and excellent on its own way... Everyone interested in first meeting with loft jazz must start here".[15]