"The NY Times" Jon Pareles
... ensemble work poised and exact...

"The NY Times" Peter G. Graves
Dennis Russell Davies, Conductor with the New York Philharmonic at Avery Fisher Hall
...effect of this unusual combination turned out to be all together exhilarating. Hampton's work was beautifully played by the orchestra and the NYSQ, which commissioned it.

"Cadence" Bob Rusch
Record Review
...sounds like no other quartet in jazz, it's more mainstream in its improvisations ... reaches out and touches the senses.

"Downbeat" Scott Hamilton
Interview by Leonard Feather
...probably the best sounding classical type sax that I've ever heard ... but warmer and nicer than records of other legitimate type saxophonists.

"Downbeat" Bill Shoemaker
...performs classical literature with precision and sensitivity ... improvised solos and ensemble flourishes in their jazz repertoire have the requisite technical flexibility and emotional forthrightness.

"Jazz Educator's Journal"
Record Review
... from bari to soprano gives a gorgeous blend of voices that play as tightly as a literal unit of one... the textures and timbres are luscious and rich.

"Boston Phoenix" Bob Blumenthal
Record Review
...displays a unity that goes beyond shared dexterity and clean tone. Each horn seems to breathe in common ... group's own propulsive attack lends spark.

"Saxophone Symposium" Ron Caravan
Record Review
...bright sound of great intensity ... flexible in their fine handling of the many delicacies within the music ... possesses the power and drive required of the American jazz musician ... sound as a classical quartet when the music warrants.

"New York Post" George Simon
Jazz at Noon — Les Lieber
...the NYSQ enthralled them ... gorgeous blend, phrasing beautifully scored ensemble passages as one voice ... expert elegance ... strong rhythmic foundation to colorful works.

"Cadence" Christopher Kuhl
Record Review
...The NYSQ appeals to the jazz listener desirous of more intricately wrought compositions. The quartet breaths life into "La Blues", a lively tribute to Don Redman ... full of jazz ... devoid of any classical stiffness...

"Ottawa Citizen" Lois Moody
Record Review
... a quartet with exceptional talent with a library of fascinating music ... tonally rich and colorful, rhythmically sure and vibrant.

"Woodwind World" Brass and Percussion Vol. 14 No. 1
Paul Harvey
World Saxophone Congress Bordeaux, France
... immaculate precision, biting attack and impressive range of dynamics which are the hallmark of this virtuoso group.

"Santa Cruz Sentinel" Jan Zimmer
Cabrillo Festival
... quartet worked together like bees in a hive, creating sonorities sweet as honey ... Precision with which these four play is phenomenal. The tonal textures they create are constantly conjuring up images ... May more composers take up the challange to write for this marvelous instrumental ensemble.

"San Francisco Chronicle" Robert Commanday
In Aptos — The Hampton Concerto
... superior musicians either singly as the melody line or cadenzas passed one to the other, or in an ensemble that seems to be electrically joined...

"Santa Cruz Independent" Rebekah Levy
Cabrillo Music Festival
... everyone involved played with warmth, finesse and class ... caliber of their individual and ensemble musicianship left no ear unamazed ... each work masterfully played. Lets hope we will be honored again in the near future by their music.

"The Instrumentalist" Eugene Rousseau
Record Review
... one is drawn to the beauty and variety of the NYSQ ... musically of the first order ... highly artistic presentation of a great ensemble making music on a great family of instruments.

"Roslyn News" Roslyn, LI
Bryant Library Concert
... inspired saxophonists ... repertoire of fascinating variety must be commended for their artistry.

"Crescendo International" Paul Harvey
World Saxophone Congress, Toronto
... ultimate professionals. Playing has everything--from an attack like a knee in the crotch to pianissimo chords like a summer breeze too gentle to ruffle a butterfly's wings.

"East Hampton Star" Ted Strongin
Historical Society Concert
... Extraordinary sense of ensemble, every accent, color, detail of phrasing exactly in place ... at no point just technicians ... feeling was what counted.

"St. Paul Pioneer Press" John H. Harvey
St Paul Chamber Orchestra, Dennis Russell Davies Conductor
Masters of their instruments ... brilliantly effective ... performance had to be heard to be believed.

"Minneapolis Tribune" Michael Anthony
... play extremely well together ... sound is vivid and polished.

Carnegie Hall/Weill Recital Hall review by Ian O'Beirne

I went to see the NYSQ at the Weill recital hall in Carnegie Hall this
past Sunday night. The performance was breathtaking. For those of you who don't know, NYSQ features some of New York's woodwind legends: Dennis Anderson on soprano, Ralph Olsen on alto, Ken Hitchcock on tenor, and newest member Lino Gomez on bari. Dennis played alto with the group for some years before moving to the soprano chair.

The concert was all premieres, featuring the following newly
commissioned works in this order: Three American Dances by Edward Paul Mascari; Mosaic by Michael Holober; Market Forces (2005) by Eric Moe; Canzona Corrente by Dennis Anderson; Rhapsody for Saxophone Quartet by Eric Ewazen; and Drift by Dorothy Hindman.

Most of the composers were present, and the theme was of a
contemporary nature. For you composers out there or those interested,
here's an overview. Mascari's piece played like a suite with lively,
exotic themes throughout. Holober's piece was particularly grabbing
and insightful, making excellent use of the colors in the various
saxophones. Moe's three movement work was extremely violent and
awe-inspiring in the fast movements ("Volatility" and "The Bottom
Line"), heavily contrasted to the appropriately titled "The Sad Story
of the Prodigal Princess", a melancholy ballad strikingly moving in
and out of dissonant harmonies. Anderson's work was reminiscent of Bob Mintzer's works for sax quartet, though with a more thoroughly
permeating jazz style. The three movements used various degrees of
layering and the harmonic motion was quite breathtaking. Ewazen's
Rhapsody would have to be my favorite, making use of more new-age
harmonies in a contemporary texture. His use of minimalist repetitious
rhythms paired with fast-paced modal shifts was very impressively done with only four voices. Drift was similar in texture to the faster
movements of "Market Forces"- heavy bari sax staccatos with the other instruments layering over top. This pallete was contrasted with a wave-like trade-off occurring toward the end of the piece, and the
abrupt ending in harmonic ascension, though expected, was very
pleasing. This was the most poetic of the pieces.

The quartet really had a unique sound. Gomez's bari playing was
particularly striking and present: his sound is huge, and he is
equally comfortable laying down the pounding bass lines and playing
sensitive, delicate melodies. Hitchcock I would call the most
unique-sounding player in the group. His concept is of a bright,
soaring nature, very pleasing and different! Olsen I would describe as
the most "personal" player. His tone is very liquid, dark, and rich,
something like Desmond meets Hodges with a pronounced classical
mastery mixed in. Anderson's soprano playing is very impressive. His
tone has a complexity to it that I'm not used to in a soprano: rich,
lively, and light.

The overall impression was this: a mastery that sounds effortless; a
concept that bridges stylistic boundaries. Basically, these are
musicians, not just saxophonists, and you can hear it. At times I
forgot I was listening to a saxophone quartet and felt that I was
hearing a symphony orchestra. The pallete of tone color is amazing.
The blend is unified and the highly stylized playing of each member
contributes to the blend rather than breaking it down. The most
surprising aspect of the performance was the huge, resonant sound
produced by these four players. Much BIGGER than any other sax quartet I've heard. The mix of classical sensitivty and downright ATTITUDE was amazing. I really loved this performance!!

Now, for the sax nerd factor...
I found out what each player uses,
straight from Ken:

~Dennis (Sop), Mark VI #250000, Selmer hard
rubber round chamber"E."

~Ralph (Alto), Mark VI #140000, Vandoren AS 26 or 30.

~Ken (Tenor), Mark VI #83000 gold plated, Selmer Soloist MPc. refaced probably about 5star or "E."

~Lino (Bari), Mark VI # I think around #165000,
usually Wagner mpc., sometimes Hite.

I think he was playing the Wagner mouthpiece at the concert though I'm not sure. Ken and Lino were using harnesses, and Dennis had a strap. Dennis was using what looked like a Rovner ligature, Ralph had a Vandoren optimum, Ken had a Francois Louis, and Lino had some kind of BG synthetic lig. I do not know what sort of reeds they play.

Originally from http://forum.saxontheweb.net/