What's noticable first of all on this recording is Webster's conception of the guitar and his touch techinque. He clearly envisions a left hand bass/chord role with right hand melody and chords. His overall tone and sustain is good and there is nice separation and equalization between bass and melody. His touch technique is very clean and sounds natural and fluent.

Here's my impressions of the recording after a few listens.
St. Louis Blues - The tune starts off with a left hand bass line and right hand percussive sounds. Then he states the melody with the RH high up on the fingerboard and accompanies with LH bass lines. From the tone of the lower strings it sounds like he is using flat-wound strings (he recommends flat-wounds in his book). "St. Louis Blues" is a J.C. Handy composition.

Needle in the Hay - This one is guitar and drums. He uses lots of RH slides with LH chordal accompaniment. I'm not familar with the song.

Fountain Mist - Nice chordal arpeggiation throughout (two-hands?). Atmospheric guitar sounds with cymbals. He gets into some fast two-handed tapping.

A Wonderful Guy - RH melody with LH bass notes. Again his right hand is playing high up on the fingerboard similar to Stanley Jordan. He speeds up the tempo for the ending. A Richard Rogers tune from the show "South Pacific."

Harbor Song - This one has lots of cool harmonics throughout.

Caravan - Smokin' version of Ellington's "Cravan" with the LH bass lines answering the RH melody. Spacey free-improvisational middle section and then a quick ending.

Doodlin' Around - Uptempo percussive jam with with LH bass lines and chromatic RH chords. Tasteful work by the drummer with brushes.

Night and Day - Slow, easy grooving version of Cole Porter's tune. He takes melody in higher register the first time then drops it down two octaves the second time around. Bridge and last A section are played with harmonics. Nice bass interludes between A sections.

A Latin in Siam - Jimmy plays this piece using all harmonics. Nice percussion work by the drummer.

I'll Remember April - There is a rubato beginning then he goes into a brisk tempo for the A section. He plays a straight four-to-the bar LH chordal beat for B section under the melody.

Scarlet Mood - There are nice RH repeated notes in this tune. (I have to wonder how's he's achieving this. Is he using two alternating fingers on the same fret space or is he using his 1st and 4th finger on two different strings five frets apart like Teed Rockwell does?)

Lover - Rogers and Hart standard with RH melody with LH chords. Starts in three-four then switches to four-four. There are some incredible two-handed chordal pull-offs towards the ending!

Some may find the style of music a little dated and novel. But the historical significance of this recording is undeniable. Great music by the father of touchstyle!