AllMusic reviewer Scott Yanow called it one of the most exciting jazz releases of 1995, ranking Lovano among the decade's top tenors.
What makes Rush Hour distinctive is Gunther Schuller's presence as arranger and conductor. Schuller doesn't fade into the background here—he's a full collaborator, composing the orchestral voice as carefully as Lovano plays his tenor. This is orchestra-as-partner rather than orchestra-as-backdrop, which means the album lives in a different space than a typical small-group session. Schuller brings compositional weight and formal structure that pushes Lovano to meet the music on those terms.
Recorded in 1994, Rush Hour finds Lovano working through large-ensemble writing at a point in his career when he was still building his profile on Blue Note. The AllMusic reviewer Scott Yanow heard something genuine here, calling it one of the most exciting jazz releases of 1995 and asserting on the basis of this date alone that Lovano must rank as one of the top tenors of the 1990s. That's strong language, and Yanow wasn't alone in recognizing the album's strength—Tom Hull also gave it a 4/4, suggesting it landed solidly with thoughtful listeners.
What's worth knowing: this isn't Lovano's strongest album overall, nor is it the place most people start with him. But it's a legitimate achievement, showing how a saxophonist can thrive in orchestral settings when the arranger believes in the music as a genuine dialogue. If you've already heard some of Lovano's small-group work and want to see him play in a larger context, this is exactly the kind of session that rewards close attention.