Thom Jurek of Allmusic commented "Brown works with a host of producers, and his familiar smooth jazz underpinnings -- derived more from George Benson and Hiram Bullock than Wes Montgomery these days -- are present but not prevalent on most of the set. Instead, his slick nu-soul/nu-jazz singing style -- identified by a thin whispery tenor -- gets front and center on more than half the album's ten cuts."[3]
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