Two “legends” of modern jazz meet for the first time in duo to pay homage to Billie Holiday!“When Billie Died I found it very painful to play any tune associated with her. Always they would invoke unhappy and sad moments from our musical collaboration.But now, for the first time with Archie, or maybe because of Archie, selecting the material and performing the songs became for me a joyous time in which I recalled many happy and positive moments togther with Billie.Also re-establishing contact with Archie Shepp, who is one of the truly great saxophonists of our time, made the creation of this album a fantastically uplifting experience for me”.

''Though recent generations of hyper-virtuosic tenor-sax gunslingers might raise an eyebrow at his unintended squeaks and hoarse sounds, the veteran tenor player Archie Shepp has evolved a more trenchant character over the years than you could ever learn from a book, and his lurching, vibrato-quivering sound is perfect for this delightful duet with the pianist Mal Waldron, on a tribute to the music of Billie Holiday.
Waldron, who died late last year, was Holiday's last pianist, and he treats Shepp's expressive, vocally-inflected sax as if he were the singer's personal representative on earth. For a famously muscular and rugged, percussively chordal pianist, Waldron is often tellingly restrained and gentle here, and his nudges and prods spark copious fresh melody from Shepp - like the saxophonist's streaming, gruffly playful lyricism on Nice Work If You Can Get It or his smokily raunchy wailing with horn and voice on his own Blues for 52nd Street.
But Shepp's fragile, choked-voice high register playing on the ballads is a haunting centrepiece to the set. An undemonstratively unique - and now unrepeatable - jazz collaboration.'' The Guardian