Excerpt from review of Houston Person's All Soul Chip White's compositional contribution to the session, "Time Stood Still," has a unique quality among the rest of the tunes. It has a modern, straight-eighth feel similar to some of Roy Hargrove's tunes. After Person and [Eddie] Allen state the closing melody, the two horns take some time to converse among themselves in some wonderfully interactive dialog, as the rest of the band vamps on the infectiously danceable groove.” - Christian Parkess

— Jazz Improv (December 2005)

From a review of Houston Person's "All Soul" [Person is] joined by his touring rhythm section of pianist Stan hope, bassist Per-Ola Gadd, and drummer Chip White . . . Person's own "Why Not" and "Put it Right There" serve as bookends for the date. In between, we are treated to Hank Mobley's "Bossa for Baby" and Benny Carter's "Wonderland," featuring Person with a swagger, with White riding high hat in ringing tones . . . . . . White's soulful "Time Stood Still" begs for lyrics, which Person provides instrumentally by seeming to tell a tale to a woman about they first time they met and fell in love.”

— All About Jazz, December 2005

From "Personality," about Houston Person and a live performance of the Houston Person Quartet at the Jazz Standard in New York City The peak of the set, following a fast "Secret Love," was a slow and squally "Since I Fell For You," Buddy Johnson's signature tune. Riding the backbeat with every kind of blues lick and kicking up a storm in the upper register, [Person] raged and caressed, then settled into a quick coda and out. And so it went, ending with a breakneck blues parsed by fastidious cymbal-slashing -- Chip White is a drummer to watch -- a chorus of "Happy Birthday" to his doctor and Mother's Day wishes.” - Gary Giddins

— Village Voice, May 28, 2002

From "With Etta Gone, the Applause Sounds Only Half So Sweet," a profile of Houston Person and review of a Houston Person Quartet performance There was only one familiar element missing. Etta Jones, the vocalist who ahd worked with Mr. Person for more than 30 years in perhaps the most productive such partnership in jazz history, had died five months earlier. On the wall, behind Mr. Person's quartet, next to some fabric cutouts of half-notes and treble clefs, hung photographs of Jones and Mr. Person min misong, she in in satin and pearls, he biting down on his horn. At one point late in the first set, Mr. Person's drummer, Chip White, punctuated a solo by shouting out, "Etta Jones!” - Samuel G. Friedman

— New York Times, May 5, 2002