Very few artists successfully cross back and forth from jazz to classical and back again: Wynton Marsalis, Benny Goodman, Duke Ellington, Keith Jarrett, Brad Mehldau and Arturo Sandoval come to mind. But now add to the list Dallas vocalist Damon K. Clark. Already acclaimed for his unusual sensitivity, versatility and virtuosity, Clark is as much at home with Thelonius Monk’s “’Round Midnight” as he is with Puccini’s “Nessun Dorma.” The mellifluous tenor minimizes the aesthetic distance between the classical and jazz worlds. Although Clark has performed in Europe, all over the United States, and in many venues in Dallas, including the Winspear Opera House, he considers Oak Cliff’s Kessler Theater to be his artistic home. In fact, his debut CD is entitled, Damon K. Clark Live at the Kessler Volume I. The CD includes a stellar cast supporting musicians including Caleb McCampbell, Asher Barreras, Justin Heaverin and Neeki Bey. While his tessitura and timbre could be described as Bobby McFerrin-esque, his approach to the material is unique. Clark’s scatting in particular exhibits a classical precision, while hinting at his affection for Ella Fitzgerald’s and Mel Tormé’s improvisational skills. Clark’s take on the Gershwins’ “They All Laughed” is a highlight, showcasing his astonishing range, playful scatting, melismatic mastery and elastic phrasing.