“Jalbert is an inspired composer. Everything he writes sounds inevitable.”

“rhapsodic, transparent and skillfully written”

“The American composer Pierre Jalbert writes music of considerable elegance… breathtaking beauty, lyricism and intricacy… he creates a distinctive sound world without turning its back on traditional formal strategies — which is part of what makes the music so alluring.”

“bright, pure music”

“Lushly orchestrated… an exuberant curtainraiser… A wholly appealing work”

“A gifted young composer”

“Charismatic…exhilarating”

“A rich, musical experience”

“Fast moving and radiant, prismatic and fascinating”

“The stunner was ‘Veil’ by Viet Cuong”

“Mackey’s sonic imagination is coupled with a deep mastery of craft”

“explosive and ethereal imagination”

“deserves recognition as among America’s finest symphonists”

“A chronicler of the African American experience whose work is rooted in traditional forms but is always prescient and often profound…tremendously powerful music”

“‘America’s Requiem: A Knee on the Neck’ composed in memory of George Floyd and other victims of police brutality…a bracing, captivating and essential new work”

“Soloist Timothy McAllister gives a warm and glittering performance, the timbre of his alto saxophone offering a sweet reminder of its past as a staple of the dance band era…the scope and flair of the playing in this volume of Fuchs’s orchestral works, and the range of the music presented, make it essential listening.”

[REVIEW: John Adams leads Cleveland Orchestra in riveting program] “The three-movement quasi-concerto featuring saxophone soloist Timothy McAllister conjures the dark and mysterious Los Angeles of the 1940s and 50s…McAllister soared beautifully against strings, vibraphone, and solo horn.”

“Within Adams’s symphonic feast, one hears high energy rhythmic virtuosity recalling that of Franz Waxman’s Sunset Boulevard (1950) prelude, towering alto saxophone solos mastered to the bone by Timothy McAllister…”

“…immense excellence…while the compositions themselves were reason enough to find great enjoyment in the presentation, it was the way that the duo played their respective instruments that enamored me…wholly in tune with the music, unbridled joy and passion.”

“This Project Encore Vol. 1 album is packed with inventive and outstandingly crisp tracks that feel lush and full-bodied, and the players both put their heart and passion into the performances each and every time…it’s all quite breathtaking and on point all the time.”

“Paul Creston’s Saxophone Concerto (1941) runs the gamut of moods from the dramatic and lyrical to the bright and breezy, often within the same movement. Better known through its 1963 wind-band arrangement, I find the orchestral original more attractive, though Timothy McAllister would be a persuasive advocate in any format.”

“Timothy McAllister makes much more of the solo part in Creston’s Concerto for Alto Saxophone than its acrobatics would initially suggest: his attractive tone and cheeky virtuosity bring the music to life.”

“There is nothing dull in these pages: plenty of beguiling tunes and fetching harmonies, especially in the more relaxed passages. Timothy McAllister’s playing is perfectly judged and emotionally diverse, ranging from humour to profound reflection.”

“Creston explores a wide range of emotions and technical demands for the saxophonist throughout the piece. The saxophonist Timothy McAllister plays in all aspects in a more than satisfactory way. He is at his ease in the short, staccato notes but also delivers notable melodious lines in the second movement. The final movement introduces a lively and playful character, demonstrating Mr. McAllister’s agility and virtuosity well.”

“an absolute master of the saxophone, and a composer’s dream musician!”

“this array of talented composers born between 1953 (Marianne Ploger) and 1996 (Zoe Cutler), all rising to the occasion in different but satisfying ways. I don’t imagine I will encounter a saxophone recital exhibiting as much imaginative fun for a long time. The recorded sound is exemplary.”

“The pieces performed by McAllister, in tandem with the talented pianist Liz Ames, stand out for their melodic inventiveness and liveliness and rhythmic intensity. In most cases, the authors summoned here draw liberally from extra-cultured music - jazz primarily, but also funk, rock and even Balkan music -, mixing classical, contemporary and vernacular languages with imagination and consistency…a beautiful and exhilarating CD.”

“REVIEW: Stephen Mulligan returns to the ASO for a saxophone-driven program”
“The evening’s linchpin was its second piece, “Adagio (For Wanda Lee Smith)”…Timothy McAllister was comfortable standing with one foot in each of the normally disparate worlds of classical refinement and hard bop intimacy. “Adagio (For Wadada Leo Smith)” flat out works thanks to a consistently...

“Timothy McAllister brings his inimitable, classical sax playing to the stunning piano playing of Liz Ames here, where both minimalism and modernism fill the Latin, jazz, funk and theater nods across these daring 14 tracks…A very unique listen that embraces abstract pop moments as well as rich moments of dramatic swells, McAllister and Ames create a highly atypical version of contemporary classical sounds that requires repeated listens.”

“…an extremely high level of musicianship and especially an incredibly dense interplay. What is astounding and only revealed once one reads the hype flyer is that the pieces are composed by just as many contemporary composers as there are tracks. Although styles move between aggressive and melodic, they strangely merge into a consistent whole.
Outstanding and really fun to listen to.”

“Intriguing conversant duets are delivered by Timothy McAllister on alto or soprano sax alongside pianist Liz Ames. The two create a wide spectrum of moods and colors, forming a graceful unison trail on “Painting With Knives”…The two jab like middleweights on the punchy “Get Up!” and are most jazzy on the bright “Obstacle Illusion”, but throughout the two work well with volleys, relays and responses. Modern sonatas.”

“REVIEW: Gorgeous Tyshawn Sorey and Thomas Adès concerto double-bill at Lucerne Festival”
“…Sorey’s writing for the solo sax establishes whole another brand of virtuosity, one wrought of long lines, where each note is given its singular identity; a procedure akin to the playing of the concerto’s dedicatee as well as the tintinnabulations of...

“The world premiere ‘Adagio (For Wadada Leo Smith)’ by the artiste etoile Tyshawn Sorey brings a meditative contrast. Together with the saxophonist Timothy McAllister, the musicians paint broad lines, delving into the mysteries of sound. The plucking strings are falling drops of water that always sound different. The mixture of bass clarinet, trombones, and string basses - a hum that resonates inside us.”

[Review: “Albany Symphony, Cheng and McAllister in top form”]
To finish the evening, John Corigliano’s “Triathlon for Saxophonist and Orchestra” would be hard to beat. With Grammy-winning saxophonist Timothy McAllister as the star, the piece is not only a tour de force for the saxophone but also for the orchestra…the overall effect was buoyant, bold, funky, and very in-your-face confident.“

“John Corigliano’s ‘Triathlon’ with saxophone soloist Timothy McAllister was the finale and a knock out success…a commanding performance with the composer on hand to share in the ovation.”

“A tremendous saxophonist, McAllister played with great strength, bright tone, and excellent intonation—including the altissimo register—on all his horns…in the end Corigliano’s ‘Triathlon’ brought the house down in cheers for soloist, orchestra, and composer.”

“It is a formidable challenge for a saxophonist to make the composer’s astonishing range of sounds flow as smoothly and enticingly as McAllister does, nor is it a given that the intricate rhythmic give-and-take between soloist and conductor Giancarlo Guerrero could fall into place as merrily as it did…the results, however, were nothing short of exhilarating…the thrills come partly from McAllister’s virtuosity but also from Corigliano’s fertile orchestral imagination.”

Full...

“He gave the piece the knockout performance it deserved…[McAllister] gave a fluent demonstration of what his instrument –all his instruments–can do. He tore his way nimbly through intricate passagework, shaped lyrical melodies with the grace of an opera singer, and gave the piece all the theatrical panache it wanted.”

“fantastic virtuosity and lyric beauty”

“Inspired by the work of jazz sax legend John Coltrane, for the American Premiere this weekend, Mr. McAllister played all three movements with superb virtuosity and artistic sensitivity…this is the music Philip Marlowe would hear as he sat in a late-night jazz club where the air was thick with smoke and regret. Mr. McAllister’s performance was moving and compelling.”

[“SLSO fires on all cylinders with creative concert featuring ‘Bolero’”]
On Connesson’s ‘A Kind of Trane’: “Much of it sounded like dazzling improvisation…complete mastery of every nuance of phrase and melody”

“World-renowned saxophonist Timothy McAllister’s brilliant, crowd-pleasing performance was equal parts rock-star swagger and supremely polished musicianship”

“Timothy McAllister delivers unusually pure and sweet tone in the cadenzas of Rush, the alto saxophone concerto. Faletta shows a clear affinity throughout for Fuchs’s warm, spacious, neo-Romantic idiom, and the LSO responds with lush yet pristine playing.”

“Fuchs’s concerto, Rush, allows for some of the more rhapsodic style for the beautiful beginning movement which also sets up the primary material for the work. With excellent virtuosic writing, Fuchs shifts between jazz and classical worlds. Blues injections connect to the former while a later passacaglia blends the two worlds. McAllister is matched well for this work and makes it really shine from its gorgeous lyricism to its more exciting technical requirements.”

“…the playing by the LSO is first-rate in the three concertos, their experience of Fuchs’s style from four previous albums (recorded between 2004 and 2014; this newcomer was set down in August 2017) showing. The concertos are all very different in format…Rush is a rather Bernsteinian diptych for alto saxophone with a punchy, roof-raising final passacaglia…soloists are exemplary. Naxos’s sound is terrific.”

“Connesson knows how to be lyrical and expressive beyond the sentimentalism of John Adams. The audience, left breathless by the astounding virtuosity of Timothy McAllister, cheered on the composer who will see his work recorded for Deutsche Grammophon with the same performers.”

“…the 136-year-old ensemble led by David Robertson, its music director since 2005, and its traveling virtuoso saxophonist, Timothy McAllister…he premiered the piece in 2013 and gave a steadily energetic, swimmingly sweeping performance of the modern work.”
Link to full review

“Adams’ new Saxophone Concerto, which had its first local performance with Timothy McAllister as the extravagantly focused soloist, marks a wonderfully important addition to the repertoire. Much of it comes at the listener in fast, breathless waves, like a cross between a Romantic concerto and a Charlie Parker solo; the contrasting episodes sustain a lustrous, debonair edge” Link to...

“Couched in Adams’ latter-day style in which fractured rhythms and thematic units exist within a potent stream of pulsation, the Saxophone Concerto also draws upon jazz influences, its soloist tumbling this way and that in pseudo-improvisatory vein…McAllister, a phenomenal technician, played it all smoothly, with classical restraint…Robertson and the St. Louis Symphony excelled in the mysteriously dappled, feinting and jabbing accompaniment.”

[Review: “LA Phil Brings ‘New World’ to Seoul”]
“Resplendent saxophone solos thrilled audiences throughout…”

[Critics’ Picks: Musical Must-Haves for your holiday list: John Adams, Saxophone Concerto, City Noir] “Adams conjures up the seductive yet dangerous swagger of postwar Los Angeles…McAllister, the virtuoso and stylistically nimble saxophonist, lights up this recording…”

“Agile and sometimes contorted, McAllister relentlessly delivered the goods, riding the top of Adams’ melded composite of sound…the best moments were found in McAllister’s melodies shifting seamlessly as they morphed through the ensemble…”

[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.”

[REVIEW: “The RLPO presents ‘Sax in the City’”] “This being an evening dedicated to the unsung sax, its foremost classical exponent, Timothy McAllister, had made the journey from the US to reprise his performance of John Adams’ new Saxophone Concerto…the work is jazz-infused, the spiralling solos giving McAllister the chance to showcase a wonderful musical agility…”

[REVIEW: “Adolphe Sax’s 200th celebrated in style in Liverpool with Adams’ concerto”] “John Adams’ Saxophone Concerto, premiered just last year, was received with enthusiastic whoops, and with good reason. Its greatest champion, the soloist Timothy McAllister, painted it with a rich spectrum of sonic colour in addition to offering an astounding display of virtuosity. His technical facility did a great deal for the soft fluidity of the early parts of the concerto, especially in the...

“Timothy McAllister flew through complicated passagework, produced high notes of arresting intensity and intoned lyrical lines with soul and playfulness”

“a titan of contemporary music and the instrument in general”

“The star of the show was the saxophonist Timothy McAllister, all pep and bounce and loose-limbed lyricism in John Adams’s 2013 Saxophone Concerto. It reads like a love letter to the giants of be-bop and swing, with orchestration as plush as a velvet banquette, honeyed harmonies from a choir of flutes and clarinets, and mirror-ball figures for celesta. At ease and alert, McAllister dazzled and crooned…an American dream of neon signage and slick city streets.”

“Adams, a long-standing jazz fan, writes expertly for the instrument. And the soloist Timothy McAllister makes an excellent advocate…we hear plenty of seductive sounds, with subtle echoes of composers including Debussy and Holst. The effect is atmospheric, and it’s hard not to be carried along by the work’s vigour, fearlessly embraced by McAllister and the BBC Symphony Orchestra under Marin Alsop.”

[Review: “John Adams Saxophone Concerto is a Hit”]
“Adams’s new Saxophone Concerto, with its dedicatee Timothy McAllister as the soloist, was fascinating. Adams grew up listening to bebop, and that idiom shone exhilaratingly through, but there were also echoes of Stravinsky and Bernstein. The intricate inventiveness of the solo line was subtly shadowed by bassoon, flute, and the saxophone’s clarinet cousin: Marin Alsop and the BBC Symphony Orchestra did it proud.”

“The virtuosic writing makes uncompromising demands on the soloist, challenges to which Timothy McAllister rose most impressively, maintaining a fullness of tone where Adams’s writing is lyrical while handling some incredibly difficult fast passages with commendable ease and clarity…Adams has enriched the sparse repertoire with an impressively argued structure”

[REVIEW: “PROMS 2014 - BBCSO/Alsop - masterful and brilliantly effective”]
“McAllister demonstrated his easy mastery of both its content and style, forming a partnership of equals with Alsop”

“McAllister was the tirelessly virtuosic soloist, playing with rhythmic drive and confident swagger…”

“Adams has created a compelling demonstration of the instrument’s unique orchestral potential. McAllister was superb, his technical command of the score impeccable, yet with a tone of molten amber, his saxophone bubbling like a hookah pipe with intoxication, his playing gave the piece its originality”

“Adams wrote the piece in 2013 for Tim McAllister who Adams called ‘the best sax player in the world.’ From the very beginning the saxophone unleashed a barrage of notes. A few pauses gave everyone a chance to breathe but the orchestra often took up the same flurry of notes so only McAllister got a chance to catch his breath…there is no doubt that the main point of the piece was virtuosity. In spite of all the pyrotechnics, McAllister’s tone quality was beautiful with a well-modulated...

[Review: “Adams’ Concerto Saxophone Concerto gets astonishing performance”]
“John Adams’ Saxophone Concerto demonstrated that the instrument most often associated with jazz, blues and soul is perfectly capable of taking center stage on an orchestral program. Composed in 2013 for saxophonist Timothy McAllister, who premiered it last year with the Sydney Symphony Orchestra and who served as Saturday’s excellent soloist, the 30-minute piece was exhilarating…the solo writing is...

“This was a virtuosic performance by guest soloist Tim McAllister for whom it was written and whom Adams introduced as ‘the best saxophone player in the world today.’ Its angular, leaping melodic outbursts form a contrast to the other pieces on the program, but there are no extended techniques required, just amazing agility in the natural range of the instrument. Its two movements rely on tight rhythmic precision as it proceeds resolutely onwards through a myriad of polyrhythms, its jazz...

“This new recording reunites conductor, orchestra and record label and adds a first-class soloist, saxophonist Timothy McAllister. “City Noir,” which gets some of its inspiration from movies like “Double Indemnity,” begins with hyperkinetic power shifting to ominous quiet and melancholy passages for McAllister’s soulful alto sax…performances are all superb…the jazz-filled Saxophone Concerto was written specifically for McAllister, and his performance, well-supported by Robertson,...

“Adams imparts a lighter touch to the orchestration to support the solo alto saxophone’s sinewy lines, played with wondrous dexterity by Timothy McAllister”

“Adams wanted a sax sound associated with jazz performance…McAllister’s powerful performance does have a more ‘American’ sound, while the St. Louis Symphony achieves the intended fusion of bebop into its veins while maintaining a sense of clarity and conciseness throughout…vital, engaging performances by all involved”

“★★★★★ out of five–Performance, ★★★★★ out of five–Recording (John Adams City Noir; Saxophone Concerto; Nonesuch/St. Louis Symphony)”

“Both violinist Leila Josefewicz and saxophonist Timothy McAllister gave incredible performances this evening. McAllister was the eye of a storm in his performance, delivering endless cascades of notes with Zen-like control, and acrobatic grace…Adams’ Saxophone Concerto is a solid new contribution to a genre that is undeservedly underrepresented. The star of the show was, hands down, McAllister, whose prowess portends great things to come, not just for himself, but for the presence of...

“Relatively few classical composers have given the instrument a successful spotlight, but John Adams is out to change that with his new Saxophone Concerto…a gleaming vehicle for virtuoso saxophonist Timothy McAllister. He nails the fluent angularity and punchiness in the music with a lyrical touch somewhere comfortably between jazz and classical styles”

“the saxophone concerto that accompanies City Noir carries bebop in its DNA, and soloist Timothy McAllister is simply outstanding.”

“4 out of 5 stars–the saxophone concerto is playfully smoochy…Adams demonstrates how well he understands the instrument, and McAllister how well he can play it…”

“McAllister’s beautiful high register rivaled that of a coloratura vocalist…”

“Dense, brash and exuberant, these two stellar works by John Adams are love letters to the confidence of the 1950s and a time when some of the greatest feats of virtuosity were often performed in smoky jazz clubs. David Robertson leads an incisive performance; the saxophonist Timothy McAllister sizzles”

“Adams’s Saxophone Concerto was brought about by the stimulus of an extraordinary musician. Timothy McAllister’s seemingly effortless handling of the “City Noir” solos…determined Adams to write a concerto for him in that style…The playing of McAllister is a wonder to hear, and the performances by Robertson and company set the standard for these works…”

“expertly written for the brilliant Timothy McAllister, and the music has the infectious, irresistible energy [Adams] generates so convincingly…”

“the main attraction of this enjoyable St. Louis Symphony album, conducted by David Robertson, is Adams’ Saxophone Concerto, composed for the virtuosic Timothy McAllister, who plays it here. Stacked with swing-era allusions, moody 4am interludes and cartwheeling acrobatics, it is unpretentious fun from start to finish”

“a highly engaging venture into the spirit of the riff, so to speak, without ever explicitly acknowledging the roots of that spirit in Bird’s solos…This recording is particularly satisfying, not only for the facility with which McAllister jumps through all of the hoops that Adams has created but also for the informed rhetorical context that Robertson establishes as conductor.”

“a fearless musician and risk taker…a one-of-a-kind artist the way Yo-Yo Ma is”

“McAllister is at the center of what’s probably the most mainstream classical saxophone disc of the decade - John Adams’ City Noir and Saxophone Concerto on Nonesuch”

“Adams’s concerto followed, full of impatient energy, nods to various styles of music and some wildly intense saxophone lines…the piece was full of saxophone pyrotechnics that McAllister played with command and ease. He moved gracefully from a bold, brassy sound to mellow, almost vocal strains, playing with the precision and polish of a classical player and a musical freedom that made much of the piece sound improvised on the spot”

“The Milwaukee Symphony Orchestra paired the Eroica with a relatively new piece by John Adams, featuring saxophone virtuoso Timothy McAllister, for whom it was composed. It’s a daunting, virtuosic piece of work, a half-hour long, two-movement piece that allows the soloist almost no rest for its duration…McAllister’s signature sound is gorgeous–smooth and liquid–very similar to a clarinet in the middle register, and only a touch meatier at the bottom and top”

“Timothy McAllister, the saxophonist virtuoso for whom this concerto was written, performed with amazing fluency, combining crisp rhythmic energy with infectious, stylish phrasing. Jazz influences, appropriate to the instrument, are often just below the surface. Moody sections, reminiscent of a film noir score, are particularly effective. This is certainly one of the most original and successful concertos written for any instrument in recent decades.”

“McAllister was phenomenal, giving a dazzling performance that rocked the audience to its feet for a prolonged and well-deserved ovation”

“Certainly this is a virtuosic piece, designed to test the limits of the soloist for whom it was written, Tim McAllister, who showed his technical chops and his expressive musicianship with a piece that had his instrument now noodling thoughtfully, now dashing in crazy, frenetic runs up and down the scale…”

“[John] Adams wrote the concerto for saxophone virtuoso Tim McAllister, who played it Friday with consummate polish and verve”

“the score deftly fuses classical and jazz elements to create a cohesive, arresting experience…it was written to match the talents of Tim McAllister, a sterling saxophonist who can handle those elements effortlessly…a kinetic, ecstatic ride that achieves giddy heights along the way…McAllister’s splendid playing drew a hearty ovation from the audience and orchestra”

“Mr. Adams took inspiration from the virtuoso technique of Mr. McAllister…one of the foremost saxophonists of his generation”

“The [Adams] concerto did not disappoint, with the orchestra joined on stage by American saxophonist Tim McAllister, whose jazz-style meanderings splendidly showcased the instrument’s power and agility in the first movement. The second and final movement saw an explosion of energy…McAllister remained supremely in control of the work’s demanding semiquaver passages; octave leaps were frequent and jarring”

“…the world premiere of his new saxophone concerto was, therefore, a very special moment indeed. John Adams’ saxophone concerto is written for classical saxophonist Timothy McAllister. He gave an astonishing performance. Adams has thrown down the gauntlet with a solo line which demands speed, flexibility, musicality and, above all, stamina to keep going with barely a bar’s rest. McAllister delivered, punching out the “nervous bebop” sound (Adams’ description) with manic intensity, like a...

“John Adams’ new concerto has an appealing blend of bright colours and astringency. Saxophonist Timothy McAllister was the outstanding soloist, channelling Stan Getz in the smooth lyrical passages. In the relentless, bebop-like figurations - stunningly executed - it recalled the frenetic solos of Charlie Parker, Cannonball Adderley and John Coltrane”

“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.”

“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.”

“(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…”

“City Noir is about process, not stasis…there was a prominent part for saxophone (played by the steady Timothy McAllister)…”

“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.”

“[Glint] is a varied anthology of contemporary pieces…tangy, oxygen rich and kaleidoscopic.”

“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.”

“hypnotically swirling lines and propulsive rhythms…brilliantly performed by all concerned and recorded with life-like fidelity.”

“…jaw-dropping technical display…a well-known master of his instrument.”

“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.”

“brilliant solos were in abundance, especially by Timothy McAllister…”

“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.”

“The LA Phil played superbly, with special kudos to saxophonist Timothy McAllister…”

“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.”

“The LA Philharmonic played beautifully throughout the performance (indeed, through the entire evening), with notable solo work from Timothy McAllister on saxophone…”

“[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.”

“Timothy McAllister and Kathryn Goodson attain sparkling heights on In Transit, a recording of saxophone and piano pieces. The range of style is broad. Etezady’s Streetlegal, commissioned by the duo, is a pleasingly violent, bravura flourish of an opening. Albright’s Sonata is gripping, deftly binding sections of scintillating textures with more melodically based passages. The roles of alto saxophone and piano are fluid and intimately interactive, forming a strong partnership. The second...

“one that will be studied and admired by saxophonists everywhere, yet deserves a still wider audience…remarkably good and thought provoking.”

“McAllister and Goodson have teamed up to present a meticulously performed CD of new music with balance and precision of ensemble rapport, while their musical approach allows the music to sing and move forward effortlessly from the first note through the last note. In Transit does indeed move the listener, with both musical and emotional energy.”

“They [McAllister and Class] give a truly remarkable performance of Lilith…a superior recording.”

“Timothy McAllister gave intense, intelligent performances…mournful [and] exuberant…”

“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!”

“…McAllister’s flexibility of sound, judicious use of vibrato, ease of altissimo, and tonal techniques make it possible to listen without distraction.”

“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.”

“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!”

“I have great admiration for your great talent…I have been very impressed by your masterful technique, by the simplicity of your playing, by your musical intelligence, by the perfect presentation…”

“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.”

“…a contrasting sense of solemnity followed…yet moving…”

“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…”

“a mature, polished performer…whose dynamic and color contrasts enhance his ability to communicate - Bravo!”

“Top Classical Saxophone Recordings - Timothy McAllister (Scena and Visions)”

“…McAllister performed solos crucial to the work’s flavor with brashness that never overpowered a beautifully rounded tone.”

“One of America’s bright young stars in teaching and in performing…exceptionally gifted.”

“Mr. McAllister ‘has a singing legato matched with excellent and fluent technique…a superior performer.’”

“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.”

“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”

“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.”

“…the music is dramatic and colorful, requiring all sorts of novel saxophone sounds…high level of musicality in the playing…the musicianship of Duo Nuova is impeccable. McAllister’s tone is creamy, and his fingering and tonguing are impressive.”

“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.”

“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.”

“…breathtaking and spectacular…a revolution displayed in the hands of an artist…”

“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.”