“(John) Adams goes for more than stylizations with [City Noir’s] wily jazz spine. Keeping a sweaty, smoky after-hours jam percolating were Timothy McAllister’s volcanic sax…”
“[Glint] is a varied anthology of contemporary pieces…tangy, oxygen rich and kaleidoscopic.”
“Mead’s melodies are angular and supple, and McAllister renders them with a lyrical modern touch. Steady Study on the Boogie…is a fascinating piece, and McAllister plays it beautifully.”
“McAllister precisely conveyed the mood of every stylistic alley into which Bolcom peered. His saxophone delivered dialogue, as well as notes, as he brought his own experiences to Bolcom’s hodgepodge of a musical canvas…the arrangement of John Williams’ Catch Me If You Can score gives plenty of opportunity to display his technical wizardry and dynamic control.”
“Soloist Timothy McAllister proved brilliantly up to the enormous demands — vast spreads of pitches, disjunct lines that wanted to be as lyrical as possible and some dazzling scurries.”
“Tim McAllister is a stunning saxophonist…he has played and recorded two of my saxophone works, and I can’t imagine them being played any better by anyone.”
“brilliant solos were in abundance, especially by Timothy McAllister…”
“City Noir is about process, not stasis…there was a prominent part for saxophone (played by the steady Timothy McAllister)…”
“a titan of contemporary music and the instrument in general”
“Friday evening, Jennifer Higdon’s lyrical Soprano Sax Concerto displayed the classical capabilities of the instrument and the musical talents of soloist Timothy McAllister. The music concentrates on song-like lines and emotional sensitivity rather than virtuosic fireworks, though McAllister’s gleaming tone and supple runs enhanced this fine work.”
“McAllister shone in the virtuosic concerto, navigating the perilous runs and figures with ease while keeping a high level of technical proficiency. His musicality was the high point of the performance, especially in the opening movement where Dahl eschewed a steady beat and rhythm, leaving the soloist to push forward the musical line. The final movement was a whirlwind of fingers, but each note and phrase was perfectly placed.”
“…breathtaking and spectacular…a revolution displayed in the hands of an artist…”
“The [Cabrillo Festival Opening] concert’s highlight concluded its first half: Jennifer Higdon’s Soprano Sax Concerto…and it was superbly realized by soloist Timothy McAllister…This work is a significant testament to beauty.”
“…jaw-dropping technical display…a well-known master of his instrument.”
“McAllister literally mesmerized the audience with a virtuoso performance that captured the full range of the sax, bringing thunderous applause and two curtain calls for bows”
“Timothy McAllister delivers unusually pure and sweet tone”
“Chambers’ Come Down Heavy! …a tour de force that tested the upper sonic limits in wild and woolly playing by Timothy McAllister on alto sax…”
[Review: ” CSO end year literally with a bang”] “The Prokofiev benefitted from distinguished solo playing by Chris Martin on cornet, Michael Henoch on oboe and uncredited guest players Lorna McGhee on flute and the great Timothy McAllister on tenor saxophone.”
“…McAllister performed solos crucial to the work’s flavor with brashness that never overpowered a beautifully rounded tone.”
“No doubt this disc will be much studied and admired by saxophonists and certainly deserves hearing among a still wider audience…remarkably good and thought provoking”