"Sometimes you just know. It takes two or three tunes to verify it, but as the well-written originals continue, one can distinguish quality song writing. Faith Gibson, a new name to me, contributes a few tunes here and turns other selections over to very hip wordsmith Christopher Morse. His melodies, along with those of others here, are fresh and invigorating. And Ms. Gibson interprets these tunes in an ultra-cool but totally unpretentious manner that she’s seemingly perfect for the task. Gibson chooses a small jazz group, all unknown names to me, to provide ideal, understated backup. The two standards on the disc are also performed with pizzaz. Gibson isn’t going to spin your head around with show biz shtick. Instead there’s a touch of Meredith d’Ambrosio or Lorraine Feather here and there. In any case, I really liked her approach and wouldn’t mind hearing more from her."
-- George Fendel - Jazzscene Magazine - Jazz Society of Oregon
"Now we're talkin'! I love a sultry jazz tune as much as the next guy, but sometimes it's a joy to listen to a vocalist take a more direct and pragmatic route to pleasure. The song's protagonist is looking for a man who doesn't need to be babied. Or, in Gibson's words, 'man enough to love a woman built for speed.'
She knows what she wants, and the music is equally no-nonsense. Saxophonist Gregoire Peters and guitarist Jo Gehlmann lay down a snappy unison riff as a retort to the leader's statements. Underneath all of this the rhythm section swings with grace and muscle.
Though Faith Gibson has plenty of chops, it's her attitude that drew me in. There's a sincerity in her voice that puts the ears at ease. She's the 'jazz singer next door.' How this fits in with the 'built for speed' thing is a topic for another review.
-- Mark Saleski, www.jazz.com
"...Stop kicking the cat at the end of a hard day and kick off your shoes, pour a red wine, pull up a comfy chair and listen. Faith's style is modern without losing a sense of the traditional. My favourite here is 'That's Right, It Was You' which is a real tear-jerker, but every track here sounds like it was pulled from the Great American Songbook -- no mean feat when you consider most of the CD is new material, including Faith's own composition, the light-hearted admonition to 'Be a Man, Baby', that perfectly embodies her great mix of contemporary lyrical and traditional jazz styles. The band here also deserves a pat on the back for their laid back but classy underpinning of one of the best new jazz vocalists around. - recommended!"
-- John Hurd, Music Editor - Bonn English Network
"It's truly a pleasure to feature your recording - every cut is a treasure, and the album is a joy!"
-- John Segers, Music Director, WUCF-FM 89.9 "Jazz and More"
"The early moves of this set show Gibson to be someone that learned her Blossom Dearie lessons well...Gibson’s an up and comer, still studying with left of center teachers and using interpretive skills as much as vocal skills to craft one of those familiar yet different experiences. A jazz vocalist more for today than grandpa consumption, she’s mastered the sound you would hear in a contemporary, left leaning jazz performance space."
Chris Spector, Midwest Record
On her previous CD, You Don’t Know Me, Faith Gibson made a variety of offbeat standards sound as if they were composed with her in mind. For Big Moon, Faith wrote three of the songs and co-wrote one with Christopher Morse, who contributed four numbers of his own. The consistent high quality of the newer material gives Faith one superior song after another to interpret in her own subtle and natural way.
For the Berlin recording project Faith is joined by pianist-arranger Wolfgang Köhler, guitarist Jo Gehlmann, bassist Lars Gühlcke and drummer Felix Astor, with Gregoire Peters making three guest appearances on alto and one on clarinet.