“a titan of contemporary music and the instrument in general”
“…jaw-dropping technical display…a well-known master of his instrument.”
“[City Noir’s] second movement, “The Song Is for You,” is softer and, on the surface, sweeter than the first, and jazzy. I heard hints of Gershwin in the horns after a flamboyant saxophone solo played by Timothy McAllister.”
“McAllister’s beautiful high register rivaled that of a coloratura vocalist…”
“John Adams said he wouldn’t wish [that alto saxophone solo] on anyone, but Timothy McAllister dispatching it with wonderful grace on this world premiere evening.”
“Handling the extensive saxophone solos was guest musician Timothy McAllister, who performed the work’s world premiere and who was brought in at Adams’ request. Although seated in the middle of the orchestra, he stood for the solos and played the jazz-inspired riffs in a nervy, improvisatory style, a highlight of what was a fine performance.”
“…breathtaking and spectacular…a revolution displayed in the hands of an artist…”
“One of America’s bright young stars in teaching and in performing…exceptionally gifted.”
“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…”
“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.”
“Your record [SCENA] is exceptional and the interpretation of Steady Study on the Boogie is maybe the best I have ever heard…Thank you for playing and teaching my music so brilliantly!”
“brilliant solos were in abundance, especially by Timothy McAllister…”
“Dudamel led a bracing, propulsive performance with instrumental lines clear even in Adams’ most riotous contrapuntal moments. The L.A. Phil members covered themselves in glory with outstanding contributions…especially, Timothy McAllister’s evocative and bravura alto sax playing.”
“Timothy McAllister is one of the best soprano players I have ever heard. The way he performs my Garden of Love, with such ease, even in the high registers, is simply stunning: a breathtaking polished tone, combined with brilliant singing vibrato, and this typical American swing, what more could a composer want…Chapeau!”
“Timothy McAllister is both an agile soloist, easily surmounting any technical hurdles, and an expressive, communicative musician able to plumb the depths or scale the heights of these contemporary composers’ inspirations. His fellow musicians are equally accomplished; these renditions are finely honed collaborations between talented peers.”
“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.”
“[Glint] is a varied anthology of contemporary pieces…tangy, oxygen rich and kaleidoscopic.”
“City Noir is about process, not stasis…there was a prominent part for saxophone (played by the steady Timothy McAllister)…”
“(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…”
“The LA Philharmonic played beautifully throughout the performance (indeed, through the entire evening), with notable solo work from Timothy McAllister on saxophone…”