From Destiny to Today...(...)...can only be considered an evolution from one firmly established place to the next higher order of the same. On Today, Alexandra retains her favor of the Latin clave, seasoning the disc liberally with that humid drive.  Alexandra's is a heart informing the head, one that is cerebral as it is organically creative. In her lyrics, Alexandra looks forward and backward like a genius Janus in triumph. She displays this amply on the contemporary-tinged "Chain of Life," the hectic and balladic "Busy Days," and the keenly sharp "Rewind" where the realization of loss is tempered with the knowledge that "if" is only a word that passes not into the future. The instrumentation is rendered with grace. 

Alexandra includes thoughtfully presented standards as two diptychs and one standalone. "Nature Boy" is cleverly coupled with "Everything Must Change," creating an integrated whole where the shaman admonishes with the obvious that the present cannot remain static while the change is often slowly realized. Bill Vint's tenor saxophone adds an air of wistfulness and knowing. More challenging and profound is the mashup of John Coltrane's "Naima" with Hoagy Carmichael's "Skylark." The Coltrane melodic line is reduced to an ether blown through the performance by Vint's tart alto saxophone (its tone in search of Paul Desmond's spirit). The collection's coda, Bert Kaempfert and Milt Gabler's Nat King Cole vehicle "L-O-V-E" is a duet with Alexandra's daughter Mae van Aarsen (who was also responsible for the cover photograph and graphic design), who more than holds her own with her mother. What could have been a syrupy indulgence is rather a triumph of the mother-child experience, swinging with a whiplash momentum.
 

The crowning achievement of the disc is the ballad "You Are In Everything." The piece begins and ends with a metronome clicking, that directional heartbeat of musical constancy. In between, Alexandra observes and personifies the spirit of music and memory while Vint accents with his seamless tenor saxophone. A certain liturgy reveals itself at the end of the coda metronome, a barely heard voice speaking with love and command. This is no ghost, but a guiding spirit and memory of goodness and grace: just like all of Today.
-- C MICHAEL BAILEY, Senior Contributor at All About Jazz. 
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