On the two pieces that saxophonist Dave Liebman plays, he gives the music more depth, more spice, more bite, more contrast. This is noticeable on the opening piece, "Skip and Me," and extended on "Hovering," perhaps the best tune on this CD. Liebman and Wilkins give "Hovering" a quality that is sweet and edgy, moody and bright.
On the rest of the tracks, Wilkens and Allen try to mix up the line-up. The rhythm section of bassist Tony Marino and drummer Tom Whaley are featured prominently on the bouncing "Sunlit Samba." On the title track, Jill Allen switches to electric bass. There is a wonderful rapport between Allen and Wilkins that is warm and congenial.
"Petty Theft" is uniformly beautiful, almost blissful. It is almost a perfect smile. This could drive a New Yorker nuts. This poses an interesting question: does music have to be slightly neurotic or off-kilter to make it more interesting? Might it be better to have more edge and less sweetness? Need caffeine?