“It was hard not to focus on the evening’s principal trumpet. Appearing in the [Chicago Symphony Orchestra’s] first chair for the second week in a row was Thomas Hooten, principal of Salonen’s old ensemble, the Los Angeles Philharmonic. Hooten’s playing of the prominent trumpet role was nothing short of spectacular — richly projected with gleaming tone and consistently stylish and attentive to the narrative.”      — The Classical Review

“In his cool, Miles Davis-nonchalant manner, Tom Hooten provided one dumbfounding effect after another… In a nice Mahlerian touch, Hooten turned fanfares on their heads. He could be jazzy. He could be silly. He could be shed-a-tear somber in “Apopemptic,” which means leave-taking and is a tribute to Louis Andriessen.”      — Los Angeles Times

“The musicians of the Philharmonic played for Gustavo Dudamel as if they meant it and were watching their conductor’s every move. The string section particularly impressed with its rugged and gutsy playing, digging into the meat and expression of phrases. With his opening trumpet call (and continued perfection), Thomas Hooten set the bar of accomplishment. In the scherzo, Andrew Bain gave a colossal account of the solo French horn part.”      — Orange County Register

“A breakneck percussion section often set the agenda, pushing the other sections of the orchestra into responses that ranged from wisps of sound, in which Tom Hooten’s impeccably clipped trumpet stood out, to hammering ostinatos, with occasional hints of Gershwin momentarily caught up in the action. It was superbly played.”      — The Guardian