Saxophonist and composer Donny McCaslin will present a jazz workshop Monday in California State University, Sacramento's Capistrano Hall, Room 303. McCaslin's challenging new trio album, "Recommended Tools," is just out on trumpeter Dave Douglas' progressive Greenleaf Music label.

The album is composed of McCaslin originals except for the Billy Strayhorn composition "Isfahan." Joining McCaslin on the recording are bassist Hans Glawischnig and drummer Johnathan Blake; for this tour, Ted Poor plays drums. The trio will conduct the workshop from 3 to 9 p.m. with a break around 5 p.m.

McCaslin will also conduct a clinic at Sacramento's Rio Americano High School on Tuesday morning.

McCaslin grew up around music in Santa Cruz, where his father was a jazz musician. He credits the progressive high school jazz program in Aptos with sparking his development. McCaslin studied at the Berklee College of Music in Boston before taking his first professional job with the Gary Burton Quintet. The 42-year-old saxophonist spoke from his New York City home.

Question: What were you thinking about while putting together this new album?

Answer: I was trying to write music specifically for a trio. As I sat in front of the keyboard, I thought, "I've (got) sax, bass and drums – what can I come up with?" There's a song called "3 Signs" where the bass and the saxophone are together rhythmically (and) in harmony. And the same thing on the song "Eventual." I was trying to manipulate the voices at my disposal, which are somewhat limited in the trio setting.

Question: How did you put the group together for the recording?

Answer: One thing I had thought about was guys who play well together – that probably goes with saying. But I was also thinking about guys that handle the type of music I write, which is not coming from one specific idiom. I'm not playing all swing tunes or all Latin tunes or all free tunes. I'm drawing from different sources for my musical language. So I was thinking about who can play these different things and make them sound really good. For example, on the song "Eventual," there's a vamp at the end where it goes into this back beat, almost alternative rock section, and I needed someone who could make that sound authentic and organic and creative. Johnathan could do that.

Question: Why did you make a trio record?

Answer: When Dave Douglas and I talked about this record, he suggested the trio format. It's something I had done sporadically over the years, and always loved and always wanted to record. It's a format I've learned a lot from through the great trio records I grew up listening to – "Sonny Rollins Live at the Village Vanguard," the Bill Evans Trio, the Joe Henderson records. It's a format that offers me so much freedom as an improviser and composer, but also a lot of responsibility. The challenge for me is: How can I orchestrate for a trio and make it interesting so I'm just not blowing long tenor solos on every song? How can I mold this thing so it's a full statement? The Sonny Rollins stuff is some of my most favorite music ever, and I was just trying to do justice to that format.

Question: At what point did you feel like you wanted to lead your group?

Answer: It's been a process. This is my seventh recording as a leader, and I would say on the last three, I've really felt more focused as to what my vision is and more able to realize that vision compositionally and with improvisation. More and more when I'm up there as leader, I'm so excited to do it and so grateful to present my music, I feel like I learn a lot. I have more to say now as a leader and a strong desire to express it. It wasn't that way when I was 22. Now my vision is a lot clearer.

Question: What kinds of things will you try to talk about at the clinics you'll be giving?

Answer: I'll talk about concrete, specific things that folks can work on to develop their language. I try to present information as clearly as I can and in a way that students can take the idea and be creative with it and ultimately teach themselves. I try to get to real nuts-and-bolts things. I try to show how you can tie in anything you're working on to improvising.

DONNY McCASLIN'S FIVE FAVORITE RECORDS

1. "A Love Supreme" – John Coltrane Quartet

"A really meaningful record for me because of the intention – it's a pure vision. The group plays as one organism. The way Trane plays is so emotionally compelling."

2. "East Broadway Rundown" – Sonny Rollins

" 'Blessing in Disguise' – the blues on that – I love it so much. He's swinging so hard and his thematic development is unparalleled."

3. "Native Dancer" – Wayne Shorter

"I could pick 20 different Wayne Shorter records, but I'm choosing "Native Dancer" because of the world nature of it, with Milton Nascimento (the Brazilian vocalist featured on the record) and the seamless way they play together. Wayne's soprano is like a voice."

4. "The Complete Concert – Four & More" – Miles Davis

"The incredible group interplay. The way Herbie (Hancock) comps for Miles and the way the rhythm section plays together is just incredible."

5. "The Far East Suite" – Duke Ellington

" 'Isfahan' " is totally killing. It's one of my favorite tunes of all time."

Call Bee theater critic Marcus Crowder, (916) 321-1120. Read his blog postings at www.sacbee.com/21q.