“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.”
[Review: “LA Phil Brings ‘New World’ to Seoul”] “Resplendent saxophone solos thrilled audiences throughout…”
“…breathtaking and spectacular…a revolution displayed in the hands of an artist…”
“Timothy McAllister delivers unusually pure and sweet tone”
“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.”
“They [McAllister and Class] give a truly remarkable performance of Lilith…a superior recording.”
“a titan of contemporary music and the instrument in general”
“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.”
“…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.”
“fantastic virtuosity and lyric beauty”
“World-renowned saxophonist Timothy McAllister’s brilliant, crowd-pleasing performance was equal parts rock-star swagger and supremely polished musicianship”
“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!”
“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.”
“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.”
“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…”
“[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.”
“…jaw-dropping technical display…a well-known master of his instrument.”
“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.”
[“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”
“hypnotically swirling lines and propulsive rhythms…brilliantly performed by all concerned and recorded with life-like fidelity.”
August 10th marked the release of my recording on the Naxos label of Kenneth Fuchs’s Saxophone Concerto ‘RUSH’ with the London Symphony Orchestra and Maestra JoAnn Falletta. Almost a year to the date when this was recorded in historic Abbey Road Studios, it was indescribable standing in front of that legendary ensemble. My deepest thanks to all involved! Here is the link to the preview video
Look for it now on iTunes and other major outlets. Thanks for listening!