Equally skilled and clever in the way he composes, Mooney proves me no wrong with numbers like “Shady Shores", whose melodic statement flourishes with interesting rhythmic accents; the fluent “Polly Pulse", which progresses through challenging undercurrents and syncopated rhythms; and “The Heights", a carrier of modern post-bop energy further elevated by Ellis’ bass clarinet grooves and Coltranean saxophone lines.
-Felipe Freitas, JazzTrail Blog, July 2018, review of "Benign Strangers"
...the power of Benign Strangers comes from within the musicians, their creative sensibilities and artistic display.
-Geraldine Wyckoff, Offbeat Magazine, August 2018, review of "Benign Strangers"
Mooney, a real triple threat, is one of the most refreshing talents to come out of the Crescent City in recent years.
-Bill Milkowski, Down Beat Magazine, August 2017, review of "Hope of Home"
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, review of "Hope of Home"
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, review of "Hope of Home"
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, review of "Hope of Home"
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, review of "Perrier St"
…soulful postbop guitar work and lithe, old-school vocal stylings.
-Time Out New York, March 2012, review of "Perrier St"
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 review of "Ghosts of Music, Past"
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, review of "Astoriano"
…A soulful and harmonically savvy guitarist from New Orleans…
-Nate Chinen, New York Times Jazz Listings, May 9, 2008