Billboard : 10/07/1957
Score of 72

Tenorist Macero plays with warmth and sensitivity on this program of engagingly melodic original ballad material by various contributors – T. Charles, Macero, J. Ross, M. Waldron, which has strength on its own. Generally probing, thoughtful performances by all concerned, notably vibist T. Charles, make this a modem set to be listened to.

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Audio
Charles A. Robertson : February, 1958

Though the debate on the validity of conservatory training for jazzmen is becoming academic as more and more young musicians seek such experience, Teo Macero is often cited as an example of one whose intensity of expression was not impaired by the school room. If anything, his stay at Julliard made him a questing spirit in the whole field of modern music and he is likely to appear in the capacity of both composer and performer in classical and jazz works. In his search for new paths, he has kept clear of accepted formulas, except as a base for his wry humor and acid wit. Playing tenor sax with the newly-formed Prestige Jazz Quartet, he essays a modern concept of the ballad on five numbers written for the date, and Hall Overton‘s arrangement of Star Eyes.

Pianist Mal Waldron‘s The Ghost Story is an atmospheric piece and a contrast to his melodic What’s Not. Polody comes from the sprightly vibist Teddy Charles, and Please Don’t Go Now is by John Ross. Macero’s Just Spring has a quiet, pastoral setting and the charm of simplicity, a quality he should cultivate more often. For his studies gave him facility rather than inhibitions, and he likes to explore subtle details before making his point. His ideas are far from routine and find sympathetic support from the quartet, surely the most modern of such groups. Jerry Segal is on drums and Addison Farmer plays bass.

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Oakland Tribune
Russ Wilson : 03/23/1958

Teo Macero gives a stunning display of his unusual sound on the tenor saxophone as he moves lyrically through a collection of ballads. His sensitiveness is matched by that of the quartet. Mal Waldron‘s several piano solos add to the overall high quality.

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Down Beat : 03/06/1958
Dom Cerulli : 4.5 stars

Since comparisons of the PJQ to the MJQ will be made because of the same instrumentation, it should be noted that the same instruments played by different musicians do not a similar conception make. If anything, I found the PJQ a bit funkier, a bit more explorative, a bit less polished and less fastidious-sounding than the MJQ. I also found a stronger dependence on the bass for melodic purposes, and on the drums as drums.

With Teo, the PJQ becomes a quintet rather than a quartet with a guest horn soloist. Macero has been, and often is, a reed man of dazzling, original, often mystical qualities. On this LP, he plays quite unlike any other tenor player. He moves into the upper register with ease, and often emerges with a sound more alto than tenor. For the most part, his work is highly inventive and at the same time very lyrical. He does not become so obtuse or so oblique that the thread of his continuity is lost, nor even difficult to follow.

For instance, Hall Overton’s moving chart of Star Eyes, he plays the most melodic tenor I’ve heard yet from him. There’s a freshness, too, in the sound of the horn as well. I found Ghost Story most gripping and memorable thematically. A Monkish mood prevails on What’s Not; and Polody, with its surprisingly funky ending, spots some excellent Waldron piano.

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Liner Notes by Bob Altshuler

A group of contemporary American composers were asked about the future of musical composition in this country. Their combined answers resulted in a substantial list of young American composers who are showing indisputable promise. Howard Taubman listed their names in an article printed in the New York Times (August 4, 1957). One of the names that appeared on this list was Teo Macero.

It is no longer surprising to find that a musician performing the thoughtful jazz contained in this album is elsewhere noted as one of the promising serious composers. The widely publicized dual careers of Benny Goodman, Friedrich Gulda and others have led us to accept these musical “double-lives” unhesitatingly.

For many years an inviolate line of demarcation prevented jazz and classical music from exercising a powerful influence on each other. Today’s new, liberal attitudes will unquestionably reshape the future of all American music. One music commentator (Henry Pleasants) went so far as to suggest that the only modern music of any vitality and promise is jazz. Mr. Pleasants’ book, “The Agony of Modern Music” stimulated a thoughtful re-evaluation of contemporary music.

Teo Macero is eminently qualified to lead a musical “double-life.” His interest in jazz stems from early contacts when still a boy. This exposure to jazz was partially responsible for his decision to pursue a career in music. An early success with instruments plus a continuingly serious attitude towards music led him quite naturally to the Julliard School of Music. The intense course of study there unfolded the world of music to him. Despite his preoccupation with other areas of music, Teo’s interest in jazz didn’t diminish. He followed the new developments in jazz with deeper understanding. If the fusion between jazz and modern music takes place as has been predicted by more than one observer it will be musicians like Teo who will be influential in establishing that new era of music.

Teo Macero’s jazz performances with the Prestige Jazz Quartet have an attractive object in mind, as the front cover explains, to present a modern concept of the ballad. Since the musicians brought their own ballads (in one instance that of a friend) their concept of the ballad applies to what a ballad should be, as well as how it should be played.

Teo contributed a quiet mood piece, Just Spring. Teddy Charles (vibist in the Prestige Jazz Quartet) wrote the slightly funky Polody. What’s Not is the effort of Mal Waldron (the Prestige Jazz Quartet pianist). Musician, composer, and teacher Hall Overton (also on Mr. Taubman’s list) is credited with the arrangement of a particularly beautiful tune, Star Eyes. John Ross (Teddy Charles roommate) penned Please Don’t Go Now. Mal Waldron’s other composition, an atmospheric Ghost Story though not inappropriate in this album cannot properly be called a ballad.

Mal Waldron, one of the most impressive of the new jazz musicians was very helpful in explaining some of the more subtle aspects of the music in this album. Firstly it must be emphasized that this is Teo’s album. Teo’s harmonic sense, tonal concept, and feeling for dynamics are clearly demonstrated. His solos are relaxed and in general quiet, with great sensitivity.

The Ghost Story shows Teo’s concern with nuances. His approach is more dynamic than chordal. He literally feels his way in terms of pure sound. Mal Waldron’s built-in atmosphere is carefully protected and developed by Teo’s solos.

On Please Don’t Go Now Teo again exhibits his keen awareness of sound. His concept is very suggestive of the Lester Young–Stan Getz influence. Teo is more cautious here than in the other jazz contexts with which he has been associated.

Just Spring contains more movement chordal-wise than in the two previous tracks but he is restrained nonetheless. His playing is very pretty, befitting the quiet mood of the piece.

What’s Not finds Teo playing around with the original melody in his solo, and again demonstrating his linear and nuanced approach in his improvisations.

Polody is more of a group performance than anything else in the album. A sensitive understanding of each other’s playing makes this come off so well.

Star Eyes benefits from Hall Overton’s arrangement. He uses altered chords but retains the melody. His harmonic treatment underlines the melodic beauty of Star Eyes. Teo’s “end runs” should not be missed.

This is not the kind of music that makes its point by the use of brash sounds or rapid execution of meaningless phrases. What does happen results when five aware musicians sensitively express what they feel about their music in a honest, direct manner.