The reason to mention the "particulars" of this document of informal sessions is because went to the trouble of doing so in his liner notes: they came about in the aftermath of he and playing together during , a documentary film about . The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Cavelight home studio without an end result in mind. The tapes sat -- though were discussed often -- for three years before a decision was made to release some of them. is a collection of love songs; most are standards played by two stellar improvisers. Picking out highlights on this eight-song, hour-long set is difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing. The entire proceeding flows seamlessly. The depth of emotion in 's and 's opens the world of the bereft lover -- and 's solo seems to make her/him speak. 's intro to by and , reveals in its lyric just how woefully ironic this tune is. The loss and reverie steeped in false bravado are expressed in 's arpeggios and underscored by s emphasis on single notes during the changes and a deep woody tone he gets in the combination of skeletal flourishes during 's solo. On the surface it might seem that the inclusion of is an odd inclusion; yet it acts on some level as the hinge piece for the set. Its simplicity and sparseness are offset by the profound lyricism imbues it with. asserts, quietly of course, that the complex emotions in the tune go beyond any language -- other than music's -- to express. After a devastatingly sad reading with at his most poignant and clean, a brief reading of closes the set. The way it's played, this tune is not a plea, but a poetically uttered assertion between lovers. is, ultimately, jazz distilled to its most essential; it not only expresses emotion and beauty, but discovers them in every moment of its performance. ~ Thom Jurek