The CD opens with "Silverbird," a simple, nice upbeat jam that sounds like a peaceful flight on a breezy day. Jarvis melodic phrasing gives the track its wings, the rhythm section is the wind beneath, and Steve Cole takes a flight of his own on tenor sax. The title track follows with an equally simple, smooth structure with Jarvis’ consistently pleasant sound at the wheel. Brian Culbertson deals out some tasty keyboard accompaniment for the journey.

The mood slows a bit with "One of Us," dedicated to trumpeter Rick Kerber. It’s a very pensive, but sweet cut. Paul Jackson is in the mix with some very subtle guitar and seems content to support, rather than pull out front. In "Street Scenes," a funky/easy vibe comes through, with Culbertson on various keyboards including the B-3 and Jackson is right there fueling the engine. Let’s give the percussion some; Lenny Castro keeps this whole thing tight and energetic. Somehow, I think of Quincy Jones’ cavalcade of stars during the 70’s and 80’s when I hear this. It’s got a little of that groove filtering through it.

Donnell Spencer, Jr. joins the ensemble with some breathy vocals for a smooth tender ballad in tribute to a lover. Jarvis reinforces the message with clarity and together they keep the mood fresh and soft, but alive. Festivity is on in "Millennium Dance," and it’s one of those "everything’s gonna be all right" grooves. We get some horn action that tells it like it is. Cole celebrates after Jarvis, and all are dancing quite nicely over the steam generated by Oscar Seaton (drums) and Larry Kimpel (bass).. They move it on over to the "Friday Night Hang," with Culbertson jammin on the B-3 again. Jarvis is really spirited in these last two tracks as he was in a more thoughtful vein earlier in the CD.

There’s a slight tropical breeze blowing through "Dreamtime" as Castro’s percussion might suggest. Jarvis gets a little "matter of fact" with "Time to Say Goodbye," and Spencer is back for the vocal chorus that speaks of unrecognized dreams of love. It’s smooth, but the point is made. Jarvis gets into Miles’ groove in the composition "Blue in Green," and the colors make sense. It is a blue groove that’s relaxed with a late-night touch.

The tracks here are relatively short, but effective. It’s a tight set of music that’s smooth, sleek and Jarvis and company are some worthy chauffeurs. Take the ride!