[“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”

“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”

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

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

[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.”

“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”

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

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

“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.”

“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) 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…”

“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.”

“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.”

“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.”

“[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.”

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

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

“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.”

“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.”

“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”

“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…”

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

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

“…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.”

“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!”

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

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

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

“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.”

“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.”

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

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

“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.”

“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 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!”

“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…”

“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.”

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