Charlie Haden and Pat Metheny, both Missouri natives and best friends, join forces for a mostly acoustic duet album. All of the tunes were recorded as duets for acoustic bass and guitar, and on roughly half of the tunes, Metheny overdubbed some 'orchestral' backgrounds on synclavier or an additional acoustic guitar part.

But these additions simply add texture and shading, and do not overplay the primary voices of the bass and guitar. Sytlistically, this album is a departure for both artists, especially Metheny. Haden dubbed this music 'contemporary impressionistic americana,' which I think describes it very nicely. While it's not a jazz album at all, in the traditional sense, there is nice improvisation and interplay throughout. There's sort of a simple American heartland folk feeling to many of the tunes, but the songs are not simple by any means. The chord voicings and harmonic sense these two display is uncanny, and they bend and flex the melody and solo lines to create expressive and contemplative musical statements. It's a wonderful album, but you have to be willing to approach it on its own terms, rather than expecting it to be like a Pat Metheny Group or a Quartet West recording.

My Dad has always been a huge jazz fan, having been one of the younger and lesser known beat poets, so I grew up hearing Miles Davis and other '50s through '70s jazz. Later on I got into the swing scene in the late '90s and developed a passion for pre-mid-century jazz and lot of the fashion, art, and design esthetics of that era. I now work with a jazz singer as the photographer for his monthly jazz show in Indio, CA. We have cutting edge artists like Laurence Hobgood and Josh Nelson playing our intimate venue with breathtaking views of the Coachella Valley. I am also the admin for PalmSprings.JazzNearYou.com and I'm working to develop our local jazz scene in the desert with the help of All About Jazz. My Dad and I are really close and love turning each other on to rare recordings and new artists.

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And have been good friends since the 1970s, so it comes as a bit of a surprise that should be their first duet album together. Both musicians are from small towns in Missouri, which leads to speculate in the liner notes if this similarity of childhood ambience might have something to do with the two players' obvious love and affinity for each other.

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Whatever the answer, the result of this logical pairing is a rather somber and moody one. Has a dark tone on his electric guitar, and on, where he plays acoustic, his sound is similarly deep and rounded. Has called one of the greatest improvisers of all time, and although this may be hyperbolic exaggeration from a longtime friend, has at least earned the right to defend the claim. On, his playing is as sensitive and beautiful as always.

Although one can understand the vibe that and were going for, the preponderance of slow and mid-tempo material can wear on the listener. When they eschew the dirge-like tempos, as on the fantastic 'The Precious Jewel,' the results are just as atmospheric and are, in fact, even more evocative of the Midwestern landscapes that are featured so prominently in the album art. With setting up a strummy rhythm, plays the stately melody with impeccable tone.

This track, one of many, also showcases overdubbing different guitars to thicken out the sound of the performance. The results are similar, at least in spirit, to 's recordings in the latter half of the 1990s. Although many and compositions that are featured on this record, it is their readings of older material that are most effective. The classic 'The Moon Is a Harsh Mistress' is wonderfully nostalgic, as uses subtle guitar and synth washes to pad a beautiful duet performance, and the traditional 'He's Gone Away' is the greatest lullaby that never was.

Overall, is a fine record when the material is happening, but a bit of a chore when it is not. If and had gone with the more Americana theme throughout, instead of interspersing that rootsy feel with post-bop, it would have been a much stronger record.