[1] In the album liner notes, Steve Lake wrote: "In this concert... Louis [Moholo] resisted the straightforward options; he never met the force of the piano headon.

Outside of a laconic interlude with brushes, prompted by some wry Nichols-like chords, Moholo rarely played stressed rhythms but maintained a sense of perpetual motion with propellent broken pulses that shadowed the piano, raced it round labyrinthine corners and up the proud polished sides of its vortices.

"[5] The Allmusic review by Thom Jurek states that, of the music that Taylor performed during his stay in Berlin, "a very small amount was so brilliant it ranked near the pinnacle of his long and well-documented career.

The aggressive approaches used by both men to intricately weave patterns and tapestries of sound in order to turn it back on itself forms a common bond, and here are exploited to the maximum effect.

This duet cannot be characterized in terms of pure dynamic force, however, as Taylor has rarely sounded so musical as he does here, with his deft use of arpeggio versus chromatic form, his overhand approach to both register and counterpoint, and his elongated legato phrasing (which one would believe to be the very extension of his breath if didn't go on so long).