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

Jeremy Eichler The New York Times

“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”

Elaine Schmidt Milwaukee Journal-Sentinel (March 28, 2014)

“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...

Joshua Kosman San Francisco Chronicle (2/1/16)

“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.”

Filippo Focosi Kathodik - Italy (May 2023)

“…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

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

Anastasia Tsioulcas NPR Music's 25 Favorite Albums of 2014 (So Far)

“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...

Don Adkins Performing Arts Monterey Bay (Aug. 2014)