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Lee Konitz has long been one of the most distinctive sounding alto saxophonists in jazz, with a cool yet dry tone. He guests with the Mark Masters Ensemble on this 2002 studio session, which concentrates on Masters' arrangements of his originals, many of which are based upon standards. The guest is the primary soloist, though each member of the big band is featured at some point. "Thingin'," Konitz's well-known reworking of "All the Things You Are," features its composer, trumpeter Steve Huffstetter, and pianist Cecilia Coleman. "Dream Stepper" (based on "You Stepped Out of a Dream") features terrific interplay between Konitz and fellow alto saxophonist Gary Foster. The intricate "317 East 32nd Street," a brilliant piece inspired by "Out of Nowhere," finds Konitz in a humorous mood. Konitz is the lone soloist in the one outright standard of the date, which incorporates his orchestrated solo from a 1953 recording with Gerry Mulligan. The finale, "Palo Alto," begins with a pulsing rhythm before taking off into an adventurous, demanding chart which the musicians interpret flawlessly. Lee Konitz had high praise for Mark Masters' scoring of his works, and the obvious pleasure had by everyone involved in the making of this recording is readily apparent to the listener. ~ Ken Dryden
The American Jazz Institute brings together jazz saxophonist Lee Konitz and the Mark Masters Big Band for a very special outing. Most of the compositions are by Lee Konitz with spectacular arrangements by Mark Masters. The band features many West Coast g
Lee Konitz: Gary Foster (saxophone); Putter Smith (double bass); Jack Montrose, Steve Huffsteter , Bill Perkins, Bob Enevoldsen, Kendall Kay, Cecilia Coleman.
Personnel: Jack Montrose, Jerry Pinter, Bill Perkins (saxophone); Scott Englebright, Steve Huffsteter , Ron Stout, Louis Fasman (trumpet); Dave Woodley, Bob Enevoldsen, Les Benedict (trombone); Cecilia Coleman (piano); Kendall Kay (drums).
Liner Note Author: Lee Konitz.
Recording information: Glendora, CA (04/21/2002).
Arranger: Mark Masters.
Additional personnel: Lee Konitz (alto saxophone). Lee Konitz One Day With Lee Songs One Day With Lee Review
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BIOGRAPHYStephen Lynch has enraged the witless and convulsed the enlightened...all in the sweetest tone of voice, with the most sensitive guitar picking on record since Gordon Lightfoot. He thinks of himself as a serious singer/songwriter and his inspirations, when he began playing guitar and writing songs, were people like Paul Simon and Joni Mitchell."I've always admired people who can tell a story with a simple song," he explains. "You don't need much more than a guitar or a piano and a voice. That's what I've responded to, even when I was a kid. Even now, I like to think that both Joni and I are expressing some sort of truth -- hers might be just a little deeper, that's all."In fact, while he was growing up in the suburbs of Saginaw, Michigan, Lynch showed no sign of eventually becoming the neo-folk bête noire. He was a regular sort, into sports for a while, always drawn to music, vaguely aware of the great comedians but not especially fascinated by them. His first dream was to act: In high school he did the usual productions -- Jesus Christ Superstar, Fiddler on the Roof. He played some piano and every now and then tried to write a song -- none of them, at that point, a portent of impending derangement.At Western Michigan University in Kalamazoo Lynch stayed on the acting track as a drama major. But at some point the door toward a life devoted to "sitting around the house, making my stoned friends laugh as hard as possible" cracked open. Maybe it was that time he saw Spinal Tap and came away a changed, if somewhat damaged, young man. It was there that he started to write songs."'Lullaby' was the first song I wrote where I felt like, 'Wow, I nailed it!' I don't want to say that people can relate to it -- actually, you kind of hope that nobody can relate to it. But it seemed to me that the style had become subtler. ...
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