Throughout the album, Mooney demonstrates his skills as a composer, arranger, and improviser. The fascinating rhythmic twists...in "I'll Be Freeing You," are just one example.
-Alex W. Rodriguez, Portland JazzScene, January 2017
Mooney's feelings shine through without shouting; they infuse the entirety of the album, and become clearer with repeated listens.
-Budd Kopman, All About Jazz, March 2, 2017
Mooney’s fingers fly over the fretboard, though no note sounds superfluous. His playing throughout relies on imagination rather than licks.
-Geraldine Wyckoff, Offbeat Magazine, March 2017
Mooney reveals his considerable fretboard prowess here, but it’s always in the context of his harmonically sophisticated, literate tunes like the moody “Swingset," “Crimson" (his syncopated meditation on “Little Red Riding Hood") and the darkly alluring ballad “Phelia."
-Bill Milkoswki, Jazz Times, May 2012
…soulful postbop guitar work and lithe, old-school vocal stylings.
-Time Out New York, March 2012
Evocative and emotional, exquisite and elegiac, here the perspicacious artist proves his poetry is as perceptive as his playing.
-Aaron LaFont, Offbeat Magazine, January 2010
Mooney reveals himself to be a fingerstyle, chordal player of the highest order as well as a burning single-note picker. He nimbly integrates both aspects here—cascading lines with rich chordal voicings—often at the same time; a neat trick that only a few…can successfully pull off.
-Bill Milkowski, JazzTimes, December 2009
…A soulful and harmonically savvy guitarist from New Orleans…
-Nate Chinen, New York Times Jazz Listings, May 9, 2008