PRISM Quartet

Join WRTI jazz host J. Michael Harrison on Friday, April 10 at 10:45 pm for music and conversation with Grammy-nominated pianist and composer Uri Caine and PRISM saxophone quartet's Matt Levy.

Join us Sunday, October 5th at 3:30 pm for The Crossing chamber choir's third and final concert in their Sixth Annual Month of Moderns Festival, recorded live at The Icebox at Crane Arts Center in the Northern Liberties section of Philadelphia.

The Crossing is joined by the PRISM (Saxophone) Quartet in a world premiere by composer Gavin Bryars. Donald Nally conducts.

WRTI's Kile Smith, host of Now Is the Time, recommends...

Saxophonist and Prism Quartet founder Matthew Levy has spent his career getting other composers played; now the spotlight's on him in a new CD, and what a brilliance it reveals.

Call the Prism Saxophone Quartet contemporary-classical, call them avant-jazz, even call them omnivorous, but whatever you call them, they've been setting the gold standard for three decades. 2014 is in fact their 30th anniversary, and in that time, while centered in Philadelphia, they've been everywhere, stretching styles while inhabiting classical, jazz, world, and rock idioms.

Prism has commissioned more than 150 works, but in People's Emergency Center (Innova) they turn the entire two-disc set over to Matthew Levy.

People's Emergency Center is the first movement of Been There, and is also the name of a shelter helping women and children in West Philadelphia. It and the second movement, Gymnopedie (the word Erik Satie coined for his most famous piece), are culled from Levy's music for a documentary about the shelter. The Prism four (Timothy McAllister, Taimur Sullivan, Zachary Shemon, and Levy), bass, drums, guitar, and former Prism member Tim Ries on soprano saxophone all create magic with swirling precision.

Levy's voice is at once vernacular and otherworldly, steeped in jazz but living in—as Henry Cowell would have it—the whole world of music. Serial Mood seems to ponder that post-Schoenberg world of harmony, and in doing so reveals a tasty secret known to Dizzy Gillespie, Gunther Schuller, and a few other hep cats: If you play 12-tone music with a hard, swinging beat, it sounds for all the world like be-bop.

That's one of the unexpected treats that Levy offers. Another is the overarching spirit of generosity—to the listener and to each player. All the music of his I've heard exhibits this. Whether it's rhythmically striking, sonically challenging, or a charming tune, it is genial music offered warmly to a real world filled with real people who want something good to hear. An excellent example is Brown Eyes, which here employs the whole band, but which Levy first had played in public in a smaller version. The occasion of the premiere? His wedding.

[Been There and Brown Eyes were featured on Now Is the Time, May 10, 2014.]

As PRISM Quartet celebrates its 25th anniversary, David Patrick Stearns profiles the all-saxophone group that has built a repertoire of more than 100 pieces.

Susan Lewis looks at the way Phoenixville is reinventing itself through arts, culture, and entertainment. The former mill town is getting set to stage its 11th annual BlobFest - an event that kicks off with a reenactment of a scene from The Blob, the 1958 horror movie that made the Colonial Theater famous.

Jim Cotter speaks with Philadelphia Orchestra principal harp Elizabeth Hainen, and principal cello Hai-Ye Ni. Both are soloists in upcoming concerts under Rafael Fruhbeck de Burgos.

Susan Lewis takes us to the Golden Age, a new play by Terrence McNally. The Philadelphia Theater Company production premieres January 22.

Jim Cotter speaks with Gala True, a Veterans Administration medical anthropologist studying the use of story telling techniques found in folklore and oral history projects, to help heal Afghan and Iraq war veterans.