“Timothy McAllister delivers unusually pure and sweet tone”
“hypnotically swirling lines and propulsive rhythms…brilliantly performed by all concerned and recorded with life-like fidelity.”
“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.”
“(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…”
“the audience was left breathless by the astonishing virtuosity of Timothy McAllister”
“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!”
“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.”
“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.”
“McAllister’s beautiful high register rivaled that of a coloratura vocalist…”
[“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”
“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.”
“a titan of contemporary music and the instrument in general”
“…McAllister performed solos crucial to the work’s flavor with brashness that never overpowered a beautifully rounded tone.”
[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.”
“[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.”
“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.”
“brilliant solos were in abundance, especially by Timothy McAllister…”
“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.”
“Timothy McAllister gave intense, intelligent performances…mournful [and] exuberant…”