Personnel:
Teo Macero (ts), Teddy Charles (vib), Mal Waldron (p), Addison Farmer, (b), Jerry Segal (d), Prestige Jazz Quartet
Reference: FSRCD 1081
Bar code: 8427328610810
Fresh Sound Records presents:
Rare and Obscure Jazz Albums
A CD series created for the most discerning jazz collectors
· Hard to find albums in Collector's Edition
· 2 Original LPs on 1 CD
· Original Cover Art, Liner Notes
· Complete Personnel Details
· Hi Fi Recordings
· Newly Remastered in 24-Bit
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
"In this day of Spotify or other apps telling you what you should be listening to, it’s easy to overlook valuable artists that are just under the radar. That is a niche that Fresh Sound records has filled, proving itself with this recent release.
The Prestige Jazz Quartet was a kind of answer to the Modern Jazz Quartet, featuring Teddy Charles/vib, Mal Waldron/p, Addison Farmer/b and Jerry Segal/dr for a pair of hip hard bopping albums. Famed producer Teo Macero brings in his tenor sax for the April 1957 session, and blows mellow smoke rings on “Ghost Story” and a relaxed “Star Eyes” while waxing eloquence on his own pretty “Just Spring”. Charles and Waldron chime well together, particularly on Waldron’s own “What’s Not.” Without Macero, the team reunites in June for an upbeat “ Route 4”, a pair of Waldron tunes that deserve more attention in “Dear Elaine” and “Meta-Waltz” and a take of Thelonious Monk’s “Friday The Thirteenth” that has Waldron in a colorful mood. Hip happenings."
—George W. Harris (March 10, 2025)
https://www.jazzweekly.com/
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"[...] Among the coolest are a pair of modal jazz-classical chamber albums he led and produced in 195 —Teo: Teo Macero and the Prestige Jazz Quartet and The Prestige Jazz Quartet, both now available as a remastered two-fer from Fresh Sound as part of its "Rare and Obscure Jazz Albums" series. The angle was to produce a chamber-jazz quartet like the Modern Jazz Quartet, only cool in tonality and avant garde in execution.
The first LP was Teo: Teo Macero and the Prestige Jazz Quartet, recorded in April of '57. The group featured Teo Macero (ts) with Teddy Charles (vib), Mal Waldron (p), Addison Farmer (b) and Jerry Segal (d). On this one, we hear Macero as an instrumentalist, just before he joined Columbia Records and began producing Third Stream albums and then Miles Davis for the next 20 years.
Like Teddy, Macero attended Juilliard in the late 1940s, where he earned bachelors and Masters degrees. His sound on saxophone is lyrical and dry, without vibrato. Earlier in the 1950s, Macero had formed Charles Mingus's Jazz Composers Workshop and was at the forefront of New York's avant-garde.
On this album, we hear Ghost Story (Mal Waldron), Please Don't Go Now (John Ross), Just Spring (Teo Macero), Star Eyes (Gene de Paul, Don Raye), Polody (Teddy Charles) and What's Not (Waldron). All are marvelously inventive.
The second album, The Prestige Jazz Quartet, recorded in June '57, features Take Three Parts Jazz Route4/Lyriste/Father George (Teddy Charles), Meta-Waltz (Mal Waldron), Dear Elaine (Waldron) and Friday the 13th (Thelonious Monk). And wow, what a Friday the 13th. The symbiosis between Teddy and Waldron is extraordinary. They read each other completely and fit together perfectly. Also surprising is how good Addison Farmer was on bass. You can hear him loud and clear thanks to the sonic improvement.
Teddy looked unassuming and sounded out of character. Short of stature, sporting glasses and a 1950s cloth baseball cap, he had a strong street-smart New England accent seasoned by New York and the jazz culture of the 1950s. He could have been mistaken for a deli owner or an accountant.
Instead, Teddy was one of jazz's hippest jazz intellectuals. His music and contribution should never be forgotten. Here's to the start of many more Teddy Charles posts to come.
Teddy Charles died in 2012 at age 84."
—Marc Myers (April 2, 2025)
https://www.jazzwax.com/
