Lee Konitz with the Mark Masters Ensemble: One Day With Lee

With a programme of Konitz-penned originals and other tunes largely associated with him, these are vibrant charts that literally jump off the page. Masters has clearly done his homework; along with some fine Kenton-esque arrangements he has incorporated a number of Konitz’s classic solos into the arrangements, most notably on “Lover Man” and “317 East 32nd Street.” The fourteen-piece ensemble is full of fine players, most notably the lyrical and elegant pianist Cecilia Coleman, as well as left coast stalwarts Putter Smith on bass and Kendall Kay on drums.

The rhythm section is distinguished, in fact, in its ability to solidly anchor the proceedings; these players swing like mad on “Thingin’” and “Dream Stepper,” while taking things down a notch for the lush and moving “Gundula.” Masters wields his horn section like a single instrument, demonstrating a remarkable sense of dynamics and compositional grace.

Everyone solos with confidence and a clear understanding of the material, but the star of the show is, of course, Konitz himself. With a tone that is warmer and at times grittier than in his youth, he just seems to get better and better. Lines play with bar boundaries and time yet are coupled with a strong sense of swing; one of the early proponents of the Cool movement, his sound has matured and aged, with a stronger propensity for note bending. His playing is so relaxed on the medium-tempo swinger, “Cork ‘n’ Bib,” that the lines sometimes feel in danger of falling over; yet throughout there is a commitment and understated acuity.

Masters has recorded a number of fine tributes, including The Clifford Brown Songbook , but has taken the opportunity, with One Day With Lee , to pay homage to an artist who, thankfully, is not only still with us, but is continuing to evolve and improve. With exceptional arrangements of classic material, a big band to die for, and a captivating guest soloist, what more can one ask?

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