“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.”
“Higdon’s Soprano Sax Concerto began and ended in a pastoral mood (a la Copland’s Clarinet Concerto) and featured smooth, sweet and virtuosic playing by Timothy McAllister.”
“Timothy McAllister flew through complicated passagework, produced high notes of arresting intensity and intoned lyrical lines with soul and playfulness”
“…jaw-dropping technical display…a well-known master of his instrument.”
“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.”
“The LA Philharmonic played beautifully throughout the performance (indeed, through the entire evening), with notable solo work from Timothy McAllister on saxophone…”
“Mr. McAllister ‘has a singing legato matched with excellent and fluent technique…a superior performer.’”
“City Noir is about process, not stasis…there was a prominent part for saxophone (played by the steady Timothy McAllister)…”
“[Glint] is a varied anthology of contemporary pieces…tangy, oxygen rich and kaleidoscopic.”
“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.”
“It was Higdon’s concerto that offered the most sublime musical moments on the program…her saxophone concerto is an extremely lyrical piece whose ideas are clear and free of musical meandering…The work was played with warmth and agility by saxophonist Timothy McAllister…In the realm of contemporary music, finding a jewel amid the programmed mix is a rare music moment. And this concert delivered it with Higdon’s concerto.”
“McAllister’s evocative renditions and virtuoso artistry throughout the CD [SCENA] enables the music, as well as the saxophone, to transcend the potential pitfalls inherent in an ambitious project of this nature and allow the listener to be embraced by the musical challenges presented for both performer and listener…an excellent CD in both performance and composition of music.”
“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.”
“one that will be studied and admired by saxophonists everywhere, yet deserves a still wider audience…remarkably good and thought provoking.”
“…McAllister’s flexibility of sound, judicious use of vibrato, ease of altissimo, and tonal techniques make it possible to listen without distraction.”
“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.”
“…McAllister performed solos crucial to the work’s flavor with brashness that never overpowered a beautifully rounded tone.”
“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!”
“(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…”
“In Jennifer Higdon’s 2007 Soprano Saxophone Concerto, Tim McAllister was equally amazing. He produced a clearly focused sound in all registers — and some were very extreme…Higdon’s formal organization also is quite free, but her single-movement concept kept musical ideas fairly compact. McAllister’s artistry helped.”