Randal Clark is a contemporary Salt Lake City-based alto saxophonist and composer. Clark's dynamic playing crosses elements of jazz and smooth jazz to form a sophisticated fusion sound that is pleasing and based on groove. Clark's latest album, Stargazer, is the altoist leading various bands of fusion icons Jeff Lorber, Jimmy Haslip, Randy Brecker, Vinnie Colaiuta, Gary Novak, Paul Jackson Jr., Nick Kellie, Michael Thompson, David Mann, Oliver Leiber, and Scott Kinsey. "Pivot" is a funk-filled exploration of groove and melody. Clark leads an ensemble of Jeff Lorber on keyboards, David Mann on saxophones and flute, Jimmy Haslip on bass, Jimmy Branly on percussion, and Gary Novak on drums. Clark's playing on this Lorber original is expressive as his technique and lyricism combine to form powerful phrases. The groove is maintained as the composition flows through several riff-based melodies. Clark's improvisational style is one of energy and a beautiful tone to form colorful and musical lines. "All About It" is given a easy-going funk groove. Clark's alto saxophone sits perfectly above the ensemble of Jeff Lorber on keyboard, Kenji Aihara on guitar, Alec and Tara Clark on trumpets, Howard Summers on trumpet, David Mann on saxophone and flute, Jimmy Haslip on bass, and Vinnie Colaiuta on drums. Haslip and Colaiuta keep the song's motion moving forward as the horn adds many colors hits to the melody. Clark's soloing is tasteful and melodic as he expresses his methodology of building an organic and meaningful solo. Haslip also performs a musically defined solo. Stargazer has much to offer in its fusion-based smooth jazz appeal. Clark is a very expressive player, and everything he plays has heart and flow. Each composition gives the listener an opportunity to enjoy the music and its cornucopia of sounds. Each musician that performs on the album is equally masterful, and together they create a joyful aesthetic for the overall project sound, which is a beautiful musical experience.

Singularly the hardest working Big Band in the industry today, the DIVA Jazz Orchestra is lead by superwoman Sherrie Maricle, who not only is the drummer of the band but the collaborative ball of energy that drives the 15-piece group of highly qualified female instrumentalists. The inspiration for DIVA came from Stanley Kay, one-time manager and relief drummer for Buddy Rich. In 1990, Kay was conducting a band in which Sherrie Maricle was playing the drums. Stanley immediately picked up on her extraordinary talent and began to wonder if there were other women players who could perform at the same level. The search was on and through nationwide auditions, the foundation for DIVA was poured in June 1992, and what emerged is the dynamic musical force that holds forth to the present day.

Though DIVA holds dear the traditional jazz idiom, the release of 25th Anniversary Project includes original compositions by some of the members who are genuine, yet ingenious composers. Maricle explains; “the CD offers our listeners 10 original compositions by 9 remarkable composers, writing for 15 friends in 1 amazing band. It’s DIVA’s mission to continue to swing hard and grow, through the exceptional individual talent within the band and their extraordinary composers and arrangers.”

One such composition is by baritone saxist Leigh Pilzer, titled “East Coast Andy,” a romping tune with high flying horn hits, creatively conceived sections that add to the textural interest of the tune and a burning solo by Pilzer herself, as well as trumpeter Jami Dauber who has a penchant for stomping the gates with her high stepping style.

A beautifully written “Square One,” features alto and soprano saxophonist Alexa Tarantino in the writer’s seat. The tune is harmonically rich with soothing pastoral colorizations and emotional dips, that lead to emotive, conversationally based solos between Rachel Therrian on flugelhorn and Tarantino herself on alto saxophone. The elongated melody is stirring and memorable.

Maricle takes the album out with her original “The Rhythm Changes,” which is aptly titled as it refers to the rhythm of the motif and how it changes through the form of the composition. Soloists, Barbara Laronga on trumpet, Mercedes Beckman on alto saxophone, Noriko Ueda on bass and Maricle on drums create an interactive atmosphere for swing era stalwarts and jazz aficionados to savor. 25th Anniversary Project is certainly a keepsake, when taking stock of its measure, one asks; is it authentic to its source and performed with expertise and awareness, in this case a resounding yes can be heard.

Maria Grand is certainly becoming a well-known name in the modern and Avant Garde circles, with her affiliation to Steve Coleman, affording her a strong calling card of recognition. But it is with the release of TetraWind, Grand decisively catapults her creativity to the forefront.

A socially conscious offering that mixes elements of poetry, and almost ala-hip-hop sound at times, with raw and raucous saxophone sounds that are masterfully articulated in the hands of this well-schooled saxophonist. TetraWind additionally has a feminine quality to it, an almost heroine feeling, as Grand is not afraid of her voice, muscularity, and prowess of sound. Tunes like “South (Quantum),” are an exceptional example of this quantitative quality.

Where “East (Land of the Living),” gives a more international sound, integrating a full register of comprehensive colors. Grand is not afraid to utilize the upper and lower registers of her saxophone, while digging into the tonal qualities that her instrument has to offer. What struck me most about this young saxophonist was her emotional competence on her instrument, this is a quality that cannot be learned in school alone, it is normally gained on the bandstand through the interpretive interaction between musicians. It is clearly apparent that Grand has this maturity within her wheelhouse.

On “North (Self. Real Power),” Grand evokes another instrument into the mix, her vocals – that convey a sense of mother nature. Which Grand attests to the inspiration of this creative release. Grand explains; “For this project, I also wanted to supplement the musical meaning with actual words, to allow the listener to hear another angle as well. Some of the lyrics are more abstract, and the last track is more political. Music cannot be divorced from the times and from whatever is happening socioeconomically at any given moment.” Speaking of the last track, “West, (Shut Shun)” is filled with tension notes, almost conveying the struggle of the times we are in as the age of Aquarius is once again upon us, which is the eleventh sign of the zodiac, which is now controlling the cosmos, which means we're entering a period of revolution fueled by invention, social media brazenness and free sexuality, say astrologers. Grand has her own take on the reasoning behind this track, she explains “It’s really important that conditions change and improve for everyone right now, we need to treat our Earth and each other a lot better. There’s a lot of greed going on, and a few people are holding on to most of the wealth; I’m not sure exactly why we’re letting this happen, but things have to change. Racism is a plague, sexism is a plague. I want my music to speak on those issues.”

Overall, TetraWind is a compelling listen, from a technically engaging journey, to a rebirth of creative ideas, Grand has captured a sentiment musically, and thematically that will leave a lasting telling piece in her creative catalog of continued depth.

A Gathering Foretold is an extremely melodious release from New York-based alto saxophonist Daniel Dickinson. Even though this is his debut outing, Dickinson plays with maturity and merges the historical language of jazz and all the right elements of modern jazz music. Dickinson has assembled a prodigious crew of musicians that play off each other, finding common ground between all the parts and creating an organic hybrid that plays to what sounds like a longtime working ensemble, yet is a well-organized session. A portfolio of Dickinson’s own compositions and arrangements, including original compositions by Christian Sands (Voyage to Somewhere) and Michael Dease (Cry of the Wolf).

Dease’s composition and the opening "Cry of the Wolf " takes its time building and then rises to the five horns playing the melody to create a beautiful sound. Dease stands out with a solid improvisation that utilizes the upper register of the trombone. The interplay between Bowlus’ piano comping figures and Ulysses Owens, Jr.’s drum pattern is a fine example of groups listening and melding to form a musical motif while Dease shapes his lines to a simmering boil.

The title track is composed by Dickinson and is an impactful track that displays both his compositional skills and his able improvisational skills. Dickinson finds inspiration during his solo in Owens’ drum rhythms, making him more than just support here, but the two work together to build and shape the solo statement and that communication is integral to the integrity of this fine album.

Even though everyone in the ensemble is a talented soloist, the emphasis is on listening to each other. “Voyage to Somewhere” features Christian Sands at the piano and as the composer. A relaxed likeable mid-tempo selection with a haunting piano figure is enhanced by Owen's drums and Dickinson’s nimble alto solo. Dickinson’s lines match Sands chordal colors and his creative rhythmic palate serves as a durable launching pad for creative explorations as a soloist.

“Darn That Dream” is the standard on the date and features Dickinson on clarinet. His tasteful clarinet playing has subtle elements of the blues and bop, all conveyed with unbridled swing. His relaxed soloing style is sure in melodic motion, strong in time and impressive in overall flow.

Although Dickinson is the leader and composed most of the material, A Gathering Foretold is by any measure a group effort, with each member given ample room to extemporize and the group works together to accentuate the various melodies and soloists. The respect and friendship between the players is indispensable, resulting in a splendid date with much to offer even the most demanding jazz aficionado and sensitive audiophile.

As humans, we have been enamored with acts of crossing, be it literally of figuratively, since the beginning of time. There is always a point where a person crosses into something, into a field or mindset of adventure, leaving the known limits of the world of point “A” and venturing into an unknown and dangerous realm or mindset where the rules and limits are unknown to get to point “B.” Bassist and composer Simon Sammut uses the crossing as a point of inspiration, to bring meaning to the act through music. Using specific events in history and mythology, Sammut focuses his musical mind by using visual art by Anthony Catania that depicts the events related to crossing, to form the mechanics of his compositions. His new project is entitled, Crossing and it marks the combining of music and visual art, forming beauty and color. Both music and paintings expressing emotions and ideas, and in this project work together to create something truly striking and unique.

Sammut’s artistic pallet is vast on both the upright and electric bass. On the electric bass especially, his use of chords possesses a color pallet that far exceeds the usual spectrum of a bassist. He cites Jaco Pastorius as an influence, and like Jaco, Sammut’s ability to convey complex harmonies using chordal movement on the bass, is dynamic and adds a great deal to the music. Sammut additionally uses orchestral colors of voice, guitar, melodica, keyboards, percussion, electronics, brass and woodwinds. “The Tin Soldier’s Last Dance” displays this ability perfectly. Sammut’s chordal work on the bass is wonderful. The tune has a strong melody and a form that keeps the music marching forward.

On “Promethean Man,” Sammut’s inspiration is that we are not alone in our journey, but ultimately guided by a higher intelligence that is involved in our Crossing and change, the process brought to us through the world. Sammut’s upper register melody on the bass starts the melodic journey. Developing into programmed drums with keyboard swells and backing, Sammut continues to take the lead melodic role. Sammut’s bass solo is tuneful, with lines the build a story and again he uses chords in his solo in a inimitable way.

Sammut’s compositions are focused and provide a sonic delight for Crossing, taking the listener on a journey into the magical world music. The bassist’s impressionistic soundscapes contribute to the album’s success as well. Crossing is a consistently musical and entertaining listen from beginning to end. Highly Recommended, and an enlightened melding of art and sound.