"Thomas conjured a wonderfully rich world from his instrument in this 
spellbinding concert. Anyone interested in the best of what's being written 
for the contemporary guitar should seek out Alan Thomas, who exudes 
confidence and pleasure in his inspired playing and repertoire." 
Classical Guitar (England)

"A tone of gravitas is immediately apparent in the Trio Sefardi by frequent 
Cavatina collaborator Alan Thomas, aided by the addition of cello to the duo. 
Each of the three movements is based on a Sephardic song. Thomas' music is 
compositionally sophisticated, but without any sacrifice of power or urgency. 
The longest movement is the first, free variations on a song of lamentation. 
The next two movements, while shorter and lighter in tone add to a work which 
is an important addition to the repertoire." Soundboard magazine

"Alan Thomas was the excellent soloist in the premiere of his own Rhapsody 
on a Spanish Theme for Guitar and Orchestra - a three-movement work of 
lush harmonies and memorable melodies written in a rich, romantic style that 
pays homage to Rachmaninov. It was very appealing and enjoyable, with the 
composer making ingenious use of the work's opening theme." 
Leicester Mercury newspaper (England)

"What strikes one most about this collection are Thomas's bold 
arrangements. Thomas takes the feverishly adolescent exuberance of "She 
Loves You" and transforms it into a lovely, achy, mature love song. It's a 
completely fresh reading and beautiful -- and it's pure genius." 
"Alan Thomas is an intelligent and meticulous performer who applies his 
innovative approach and vision to probe the guitar's greatest depths." 
Yeniyuzyil (Istanbul) 

"…a player of great technical facility. The MacDowell transcriptions were 
excellent and the Rodrigo pieces rousing." 
Soundboard (USA) 
"The guitar in the hands of this master effortlessly conveyed the stylistic 
contrasts and overcame the most daunting technical difficulties." 
Musica Viva (Sofia) 
Perhaps the most encouraging aspect of the concert was the emergence of 
the electric guitar in music which owed little or nothing to blues or rock 
sources. Laurence Crane's Bobby J. evoked Robert Fripp's early 
experiments in guitar ambience in spirit, if not in substance, while the 
prevailing toccata motion of Ian Moore's Chantefables had an almost 
Baroque agility under Alan Thomas's fingers.

"…vast personal and musical charm… Alan Thomas's concert programs 
are distinguished by a masterly virtuosity, exceptional expressiveness, and 
a unique and inimitable style."
The Azerbaijan (Baku) 
"The Per Norgard highlights [of the Huddersfield Contemporary Music 
Festival] all came on a Sunday morning concert by the guitarist Alan 
Thomas. Exploiting all the guitar's richness, Jack of Diamonds was 
dispatched with strutting yet sensitive style." 
The Times (London) 

Alan Thomas played brilliantly [in Evis Sammoutis's] Alter Ego 1, which 
explored that instrument's possibilities, melodic, percussive and harmonic, 
with scordatura to enhance overtones through sympathetic resonance. 
Musical Pointers