The AllMusic review by Matt Collar called it "some of Getz and Gilberto's best live performances of the period" stating that "Getz and his band were more than amenable to backing the enigmatic Gilberto, who appears here in a variety of settings, from solo to duo to accompaniment by the full band. What's particularly fascinating is hearing how the band adjusts to Gilberto's distinctive and subtle phrasing, his steady guitar pulse anchoring his delicate, fluid vocal melodies. While cuts like 'Chega de Saudade' and 'Doralice' retain all the warmth and beauty of the original 1964 recordings [actually, 'Chega de Saudade' was not recorded by Getz in 1964], at the Keystone Getz and his band color them in surprising yet still thoughtful ways. The result is an evening of organic, dreamlike splendor".[2] Writing in The Observer Dave Gelly said "The original 1964 Getz/Gilberto album is a masterpiece, and this never reaches those heights, but there's something spellbinding about Gilberto's intensity when facing a live audience, close-up".[3]
