The program is bookended by two compositions by film composer Bronislaw Kaper, who also wrote the standard "On Green Dolphin Street," which Evans had recorded a number of times, going back to a celebrated 1958 version with Miles Davis.

He noted that he knows "most of Bill's previous albums by heart" and that as someone accustomed to performing straight from a printed page, it was a "humbling experience" to hear "the terrifying level of energy and concentration" and "the apparently limitless flow of ideas" involved in the duo's improvisations.

Cleve called Gómez "one of the two greatest bass players in the history of jazz" and singled out Ogerman's "A Face Without a Name" as his favorite track on the album, with its "buoyant yet wistful virtuosity with interludes of some of the most harmonically rich and warm playing I've ever heard from Bill.

"[17] The AllMusic review by Scott Yanow awarded the album 4 stars out of 5, calling it "intuitive and bordering on the telepathic" and saying that "the sensitive and generally introspective playing ... definitely holds one's interest.

As with Evans's earlier dialogues with guitarist Jim Hall, there is an intimacy between the two musicians on their duet album that becomes spellbinding once the listener too is absorbed by the mood.