The Prestige Jazz Quartet (PJQ) was often compared to the Modern Jazz Quartet (MJQ) due to their similar instrumentation. However, it is crucial to recognize that the same set of instruments in different hands yielded entirely distinct artistic visions. This uniqueness stemmed largely from the distinctive material penned by Teddy Charles and Mal Waldron—two of the most innovative voices in jazz composition at the time. Their creative ideas were brought to life by the rhythm section of Addison Farmer on bass and Jerry Segal on drums, forming a cohesive and dynamic ensemble.

With the addition of Teo Macero, the quartet expanded into a quintet, introducing a bold new dimension to their sound. Macero, a daring reed player with a mystically original approach, brought a distinctive tenor saxophone style that often ventured into the alto range. His playing was both lyrical and highly inventive, setting him apart from his contemporaries. The result was a series of recordings filled with rich textures and emotional depth, as showcased in the haunting “Ghost Story” and a collection of remarkable ballads.

Waldron shone throughout these sessions, especially on tracks like “Ghost Story,” “Star Eyes,” “Dear Elaine,” and the ambitious “Take Three Parts Jazz.” The latter, divided into three segments, reflected Teddy Charles’ philosophy of pushing boundaries to achieve fresh, innovative results. Charles’ vibraphone work, alternating between swinging grooves and introspective tones, perfectly complemented the ensemble’s explorative spirit. Addison Farmer contributed both strong solo moments and elegant melodic support, anchoring the group with his steady and imaginative bass lines.

It is worth noting that the Prestige Jazz Quartet was primarily a recording ensemble, and their artistry could only be fully appreciated through the LPs they produced. On their two sets, the level of musicianship, creativity, and emotional depth was nothing short of exceptional.

—Jordi Pujol (From the back-liner notes of FSRCD 1081)