Temperley's control is such that his warbling, back-of-the-throat trill on Ellington's "Sunset and the Mockingbird" risks affectation. But he swings too hard for sentimentality, and there's no bric-a-brac when he and McKenna take turns singing a melody on their instruments. Temperley also takes a sweet turn with his soprano on his original "Nightingale," and he savors every interval of Duke's "Black and Tan Fantasy" with bass clarinet. You can hear the decades of dedication in every fine-grained note.

-- Jon Garelick