David Vonke of the
Toledo Blade praised the album, calling Connick a "dapper beanpole crooner, a la
Frank Sinatra" and the album "a throwback to the 1940s", while noting that the album was "convincing with its "moody, romantic lyrics".
The New York Times called it "an impressive vocal album of old-style popular songs, many of them composed by Connick".
Cathleen McGuigan, writing for
Newsweek, called the album "terrific", noting that the songs written by Connick were "new songs that sound old".
Zan Stewart of the
Los Angeles Times called the vocals a "dusky, part-Sinatra, part-Torme tenor", stating that Connick "may not have Ol’ Blues Eyes’ magic pipes, but he can handle a tune, and with pretty good feeling, too". Melinda Newman of
Billboard called it a "big band vocal album, more in line with music heard on the previous soundtrack".
Gary Giddins, writing for
Entertainment Weekly, called the album's vocals "an airy wisp, all charm and no substance, except maybe in its lowest range, where it unfolds in a throaty purr", although he praised the songwriting. Ken Franckling of
United Press International criticized the vocals, calling them at best "passable", but praised the work of the orchestra. Jazz critic
Scott Yanow, writing for
AllMusic, reviewed it favorably, stating that Connick's vocals, "while limited, are personable". Additionally, he positively rated the covers of "A Nightingale Sang in Berkeley Square" and "It's Alright with Me", calling them high points. Dave McElfrish of the
Phoenix New Times stated that Connick did not deserve "to be hailed as big-band’s savior", criticizing the production and the album's focus, stating that "his often attractive writing is smothered beneath garish production" and noting that it "sounds more nostalgic than original".
Accolades During the
33rd Annual Grammy Awards, the album won the Grammy for
Best Jazz Vocal Performance, Male. To celebrate, the title track was performed live on the Grammy telecast. == Commercial performance ==