Applause

[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…as they say in jazz terms, he wailed on the part with great energy and Miller and the gang followed suit.”

Geraldine Freedman The Daily Gazette (6/5/22)

“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.”

Joseph Dalton Times-Union (6/5/22)

“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.”

George Grella New York Classical Review (6/5/22)

“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 with the San Francisco Symphony at Davies Symphony Hall. The results, however, were nothing short of exhilarating.
…the thrills come partly from McAllister’s virtuosity but also from Corigliano’s fertile orchestral imagination. It is heady stuff, and I for one can’t wait to hear this again.”
Full review HERE

Harvey Steiman Seen and Heard International (4/9/22)

“fantastic virtuosity and lyric beauty”

John Corigliano Pulitzer Prize Laureate, Grammy, and Oscar-winning composer

[“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”

John Huxhold St. Louis Post-Dispatch (3/6/20)

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

Leonidas Lagrimas The Buffalo News (12/8/2019)

“Timothy McAllister delivers unusually pure and sweet tone”

Joshua Rosenblum Opera News (February 2019)

“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”

Bill Jones Charlotte Sun (1/17/19)

“the audience was left breathless by the astonishing virtuosity of Timothy McAllister”

Bertrand Hainaut DIAPASON (France) (1/4/2018)

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

Kwon Ji-youn The Korea Times (3/27/15)

[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.”

John Von Rhein Chicago Tribute (12/19/14)

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

Daniel Hathaway ClevelandClassical.Com (10/18/14)

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

Zachary Lewis The Plain Dealer, Cleveland (10/7/14)

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

Review of PRISM Quartet The New York City Jazz Record

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

Sarah Bryan Miller St. Louis Post-Dispatch (Oct 2013)

“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.”

John Norine, Jr. Theater Jones: Arts News in North Texas

“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.”

Scott Cantrell The Dallas Morning News (4/25/12)

“(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…”

Lewis Whittington American Record Guide (Sept/Oct 2010)

“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.”

David Fleshler The Miami Herald/South Florida Classical Review

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

Arthur Kaptainis National Post (Toronto)

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

Rob Barnett MusicWeb-International (UK)

“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.”

R. Schulslaper FANFARE Magazine

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

FANFARE Magazine FANFARE Magazine

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

Daniel Coombs Audiophile Audition

“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.”

Lawrence A. Johnson The Classical Review

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

Janos Gereben San Francisco Classical Voice

“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.”

Gregory Sullivan Isaacs Critic, Theater Jones: Arts News in North Texas

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

Robert D. Thomas Music Critic, Pasadena Star-News

“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.”

Fred Child Commentary from American Public Media/Performance Today’s coverage of Gustavo Dudamel’s Inaugural Concert with the LA Phil

“[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.”

Mark Swed Los Angeles Times

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

William Bolcom

“Knockout performances by this high-energy ensemble…in this high-end audiophile recording supervised by many of the composers.”

Imagination 97 Imagination ‘97

“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.”

Frank Bongiorno The Saxophone Journal

“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…”

Jean-Marie Londeix Legendary Saxophonist, Conservatoire National de Bourdeaux

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

Bruce Hodges S&H International Concert Review - MusicWeb (UK)

“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.”

Steve Hicken American Record Guide - Review of Scena

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

Philip Farkas Legendary Hornist, Former Principal Horn, Chicago Symphony

“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!”

Jacob ter Veldhuis Celebrated Dutch Avant-Pop composer

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

Debra McKim The Saxophone Symposium

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

Leone Buyse Former Associate Principal Flute, Boston Symphony Orchestra

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

Mark Stryker Detroit Free Press, October 2000

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

Jeremy Eichler The New York Times

“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.”

Jeff Dunn San Francisco Classical Voice

“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.”

Edward Ortiz The Sacramento Bee

“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!”

Christian Lauba Award-winning French composer

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

Michael Segell Author and Editor, New York Daily News

“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.”

Scott MacClelland Metro Santa Cruz

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

Michael Rodman The Ann Arbor News

“…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.”

Stephen Max American Record Guide

“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.”

Phyllis Rosenblum The Santa Cruz Sentinel

“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…”

John Fleming St. Petersburg Times

“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”

Robert McColley Fanfare Magazine - Review of Visions

“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.”

Gregory Barnes The State, Columbia, South Carolina

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

Donald Sinta Earl V. Moore Distinguished Professor Emeritus of Saxophone, The University of Michigan