Hargrove and Miller had previously performed together a handful of times, including at Bradley's jazz club in Greenwich Village, later at the Lionel Hampton Jazz Festival in Moscow, Idaho, as part of the ensemble Superblue, in subsequent years, with Miller subbing in Hargrove's quintet, and having both starred on the album Dizzy’s Business (MCG Jazz, 2006) by the Dizzy Gillespie All-Star Big Band.[5]
All About Jazz's Troy Dostert remarked that the album "reveal[s] a natural camaraderie that is evident from the opening notes of the lead track".[6]
Matt Collar of AllMusic called the album "rapturous interplay during two concerts of jazz standards".[1]
David Whiteis, writing for JazzTimes, stated: "their music is never dry or pedantic ...a sense of irrepressible playfulness makes itself felt, as trumpeter and pianist toss ideas back and forth... every moment new and sparkling, celebrating a brotherhood of the spirit bonded by joy, deepened by inspiration, and anointed with love."[4]
Peter Gamble of the Jazz Journal commented that on the third track, "I Remember Clifford", "the trumpeter shows excellent control in both upper and lower registers" and that "Miller's contribution is of a rhapsodic nature and highly effective to boot."[7]
For Jazzwise, Brian Priestley wrote: "Hargrove is melodically appealing at all times, often deliberately subdued, but sometimes building to a climax that grows organically from Miller's stimulating backings; the pianist's own solo work also flows from these backings, probably his most impressive unaccompanied playing on record."[8]
Steve Futterman, writing for The New Yorker magazine, wrote: "Hargrove and Mulgrew make judicious use of numerous ballads and medium-tempo numbers, exhibiting the thoughtful and deeply expressive qualities that established them as first-rank players in their lifetimes, and as lauded luminaries now that they're gone."[9]
The New York Times author Giovanni Russonello, said of the album, "...both players are at the height of their powers, and it's arresting to hear them up close, in such rich detail."[10]
Nate Chinen, writing for WBGO, boiled the album down to simply, "It's a beautiful way to remember them both."[11]
WRTI's Matt Silver complimented the chemistry between the two musicians, noting that "These are musicians maximally comfortable with themselves and with each other ...the two are perfectly simpatico in style and purpose. [...] both Miller and Hargrove bring a unique improvisational zeal to each tune."[12]
In the album's 68-page liner notes booklet, bassist Ron Carter noted that Miller "knew how to use the pedals of the piano, which is kind of a lost art these days", while trumpeter Chris Botti wrote that Hargrove is "so musical without being macho".[8]
R. Andrew Lepley – photography (back cover, of Hargrove)
Jimmy Katz – photography (cover; back cover, of Miller)
Alan Nahigian, Chris Hoven, Jean-Francois Laberine, John Abbott, Petasz, Thomas Inderbinen, Wouter Hogendorp, Brian McMillen, John Rogers – photography
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