In a review for AllMusic, Scott Yanow called the album "an interesting but not overly essential outing," and wrote: "Lincoln... still had a reasonably strong voice at this point in her career, and although she showed signs of mellowing now and then, she was still capable of performing fiery musical statements."[1]
The authors of The Penguin Guide to Jazz Recordings singled out the title track for praise, stating that it is "intriguing in that it features tap-dancer Savion Glover, a young man in the great tradition of jazz hoofers, but with moves all his own; don't dismiss the concept out of hand - it works."[5]
Billboard's Jim Macnie included the album in his top 10 releases of 1997, and commented: "She's got the whole world in her head, and its frayed condition troubles her. She's also got art in her heart, so her worries never fail to compel."[8]
Jim Santella of All About Jazz remarked: "the singer maintains her own distinctive manner of delivering a lyric. Seven of the nine tracks... are ballads that serve to demonstrate the graininess in Lincoln's voice, the long, tied-together whole note phrases, and the carefully articulated words... Recommended."[9]
A writer for the Hartford Courant wrote: "Lincoln... has a mesmerizing voice — one of the most seductive sounds in jazz or pop. At the same time, she delivers a tune with a theatrical skill far surpassing many highly acclaimed cabaret singers... [she] is given regal backing throughout."[10]
