In a contemporary review for The Village Voice, Robert Christgau said the second side on Three or Four Shades of Blue was "the best composed bebop" he had heard in 1977, partly because Coryell and Fortune gave their most impressive performances in some time.[4]The New Yorker found the record "subtle and funny and full of Mingus's peculiar and unmistakable authority".[6]AllMusic's Stuart Kremsky was less enthusiastic in a retrospective review, writing that it was not Mingus's "best work, but not without merit". He felt the title track was one of his most successful attempts at longer compositions, even though he said the electric guitars were out of place.[1]