“The original tapes for volumes one and two had been languishing on a shelf for several years -in fact, ever since I last saw Lenny Breau. I would play them once in a while for friends who upon listening to them, would say: “You should do something with this stuff”. On a number of occasions Lenny came to stay with us in our ramshackle farmhouse in Maine. From the first time we played together, at the Augusta Jazz Society, we felt a magic whenever we played together as a duo. This was a very informal gathering in my mother's living room with the tape running. We laughed and amused ourselves by making all this new material sound rehearsed.
Subsequent visits produced some more taping at home and a few recordings of intimate concerts in the local area. In every instance, Lenny was in top form due to relaxed, country living. At the end of each session, we'd agree that “we should do something with this stuff”. Then Lenny would be off to Boston to teach a master class at Berklee: or to Nashville to record an album with Chet Atkins or Buddy Emmons: or to Los Angeles to write another article for Guitar Player Magazine.
I would play and savor the tapes in anticipation of Lenny's next trip to Maine. At the end of each visit we talked in more depth about “doing something with the tapes”. My wife and I discussed with Lenny various ways to produce and promote an album. Not until I heard about Lenny's tragic death did the finality of his last statement to us, concerning the tapes, hit home. He said, “The tapes are yours: do something with them.” The duo pieces present a rare side of Lenny as a master accompanist. His effortless combining of bass lines and comping figures provides a full rhythm section. His Ample use of space prevents him from getting in the way. The constant interplay brings out Lenny's sense of humor -I can clearly remember his impish grin. All of these tracks were recorded live, and are here “as is”. There were no rehearsals and no second chances. The flaws have not been covered up with electronics. I feel that the energy and just plain fun involved in our playing more than compensates.”
-Brad Terry 1986

Original 1986 liner notes:
“Back when the world was young (about 1958), I found myself playing at a private party with a Dixieland band up in New Canaan CT. We went way past quitting time -our host was mellow, the band was hot, and no one wanted to stop. Jam session. Well after sunrise when we were down to playing duets on African thumb pianos, a tall guy built like a lumberjack and carrying a naked clarinet wandered in. Some of our crew seemed to know him. The blues in F was called and I got my first listen to Brad Terry. I was bowled over. At age 18, Brad was already one of the fastest clarinetists around and well into bebop, which is a rarity on clarinet even now.” -Leroy Parkins
Other quotes from the press to the pros:
“I had to get past Brad Terry's playing to listen to Breau. He comes as a total surprise. I had in my mind an unformulated image of some local semi-amateur musician whom Lenny probably indulged out of kindness, and perhaps too because his home offered Lenny a retreat, a place to hide from troubles. Wrong. Brad Terry is wonderfully warm, fluid, responsive, inventive player, far and away the most attractive clarinetist I have heard in years. They are delightful together, Breau with his softness and sensitivity and Terry with his warm tone and unfailing melodicism.” -Gene Lees in Jazzletter July 1986
“Brad Terry is my favorite kind of musician: One who explores music -guided by a childlike curiosity and enthusiasm.”
-Roger Kellaway
“Brad Terry is one of the well-hidden clarinet secrets of our time”
-Doug Ramsey in Jazz Times
From Chet Atkins overheard speaking to Willie Nelson at the Austin, TX Opera House: “I've heard this album. It's the best Lenny Breau ever recorded.” -Chet Atkins
“I think if Chopin had played guitar, he would have sounded like Lenny Breau.” -Chet Atkins