This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute: it's either the real thing or it's nothing.

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... Jasmine is, ultimately, jazz distilled to its most essential; it not only expresses emotion and beauty, but discovers them in every moment of its performance.

[9] In a review for Slant Magazine, Jesse Cataldo stated: "About as cleanly resplendent as music comes, Jasmine... is whisper-quiet, but not necessarily simple... the album registers a kind of bare exquisiteness through hushed conversation between the two instruments...

The album also proves, as an antidote to the work of aging standards abusers like Rod Stewart, that retrospective late-career reinterpretation doesn’t necessarily equal creative death.

"[2] Tyran Grillo of Between Sound and Space commented: "This album proves that maturity is about filtering out all that distracts us from being who we are and finding just the right melody, taking comfort in the method over the message.

That two musicians, walking such different paths, can come together and create something so powerfully understated, so viscerally unfettered, is a testament to the creative potential of knowledge and the gift of life that allows it...

This album might as well be called 'Jazzmine,' for that's exactly what it is: a mine of tried-and-true standards, each plucked carefully from the surrounding rock and arranged in a row of sparkling gems... Over thirty years in the making, Jasmine was already a classic before Jarrett and Haden ever stepped into the studio to record it.