Two-tenor excursions have certainly changed over the years. Though there are a couple of blues, you won't find any of what Ronnie Scott used to call “mad bebop scrambles” with ‘I Got Rhythm’ and 12-bar chases. The one real burn-up is probably on ‘All of Me’ changes (Blake's ‘All About Me’). Overall, it's a relatively sedate affair with both saxists – who do know how to burn the candle at both ends – on their best behaviour. The material is extremely varied. A semi tongue-in-cheek treatment of a Brazilian opener; an R&B-ish Eddie Harris blues in 7/4 is followed by veteran pianist Jim Beard's ‘Holodeck Waltz’, with Cheek on soprano. Then a great Elmo Hope tune that Clifford Brown cut on Blue Note, ‘De Dah’ with solos on the theme's actual chords rather than the usual ‘Rhythm’ ones and, in total contrast, a song by Brian Wilson (‘Til I Die’) and, to close, a very modern ballad ‘Lady in Languor’ by a Canadian, Vickie Yang. One of the most interesting tracks is a very Monkish left-hand treatment of ‘I Surrender Dear’. Both tenors play interestingly throughout the record with often harmonically different-sounding arrangements. But the surprising scene-stealer is Iverson, best known for the bombastic Bad Plus group. The way he totally deconstructs every song is absolutely fascinating. By the way, producer Gerry Teekens has an even more unconventional CD with a similar line-up due: this time with ultra-modernists Walter Smith III and Dayna Stephens.