Timothy McAllister, soprano saxophone; Zachary Shemon, alto saxophone; Matthew Levy, tenor saxophone; Taimur Sullivan, baritone saxophone
I don’t think there are enough words to describe the technical precision, the unity of sonic intent, the musicality, and the timbral facility present in the Prism Quartet’s playing. Fortunately for me, I don’t really need the words; I have this disc instead. These 23 compositions, all short and wonderfully focused, paint a wonderful aural picture of this amazing sax quartet. The slithering of Roshanne Etezady’s Inkling showcases the extreme fluidity of their sound and as soon as it is over – BAM – we are hit with the spiky and strident Howler Black by Zack Browning. Adam B. Silverman’s Just a Minute, Chopin is as tender and expressive as Gregory Wanamaker’s speed metal organum blues is not, yet Prism sounds like they were born to play both. Compositions using lots of extended techniques like Ken Ueno’s July 23… (the full title takes longer to read than it takes to listen to the piece) and Jason Eckardt’s A Fractured Silence are gorgeous and rich sounding. The composers’ voices are strong and resonant and Prism plays these works as if no effort was involved (the effort for these pieces is considerable). Frank Oteri’s Fair and Balanced? exploits Prism’s pitch and tuning control with his four microtonal movements. By the time the disc is over, you’ll think there is nothing the Prism Quartet can’t do. And you’d be right.
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