As the title clearly indicates, this 1962 album consists of duets, trios and quartets. With Coleman Hawkins playing saxophone, Hank Jones on piano, George Duvivier on bass, Eddie Costa on vibes and Shelly Manne on drums. The participants on this set are not usually thought of as members from the same school. Three different groups are presented, and each track has much to recommend it. Though consummately gifted as technicians, they repeatedly show in their music that that technique is a means to an end, not and end for itself. When Hawkins enters in the first tune, the energy of the music accelerates. But it still remains a cool version of the song, quite unlike the roaring original of Strayhorn and Ellington. Shelly seems to hear every single nuance as he lays down his accompaniment. In the introduction he plays the cymbal with his fingertips only. The piano solo is backed by a stick on the cymbal and a brush on the snare. At the end of the session, when the rest of the band had left, Shelly and Hawkins felt like playing. Hawkins insisted to play some piano, an instrument for which he has considerable affection, but on which he had never previously recorded. The tune Some Drums was recorded. This tune was entirely improvised. The story Hawkins tells here is intuitive accompanied by Shelly Manne. It shows all his imaginative resources, all his sounds and textures. They made but one take.