Music

World music critic Milo Miles discusses Cumbia (COOM-bia), the leisurely musical form that took shape in the northern regions of Colombia, and now influences bands in Mexico and the Southwestern United States. You may have already heard a Cumbia tune on TV, during a Colombian coffee commercial.

Television critic David Bianculli reviews last night's premiere of Michael Jackson's new music video, "Black Or White." He also discusses how Jackson has changed the world of music videos.

Rock historian Ed Ward profiles Skip James, a great bluesman of the 30s who vanished from the scene, then reappeared 30 years later.

Singer Lesley Gore. In 1963, when she was only 16, Leslie Gore recorded one of the greatest songs in rock and roll history, "It's My Party, and I'll Cry If I Want To." Gore has stayed in the business since the 60s, and she's currently appearing at the New York City club, "Rainbow and Stars." Also, Rhino records has recently released a two record retrospective of her greatest hits.

World music critic Milo Miles checks out "Samba," writer Alma Guillermoprieto's (geair-mo-prer-toe) new book on Brazil's most famous musical form, and how it pervades Brazilian life and culture.

Rock critic Ken Tucker reviews two current rap acts, Heavy D and the Boyz and 3rd Bass.

World music critic Milo Miles reviews some current books on African music. His big recommendation is "Sweet Mother: Modern African Music," by Wolfgang Bender (published by University of Chicago Press).

World music critic Milo Miles checks out "Dig," the new album from The Burning Flames, a Caribbean band that started out playing soca, added a strong rock beat, and came up with some of the most infectious dance music anywhere. (It's on Island Records).

Rock historian Ed Ward remembers the little known era of the show bands and groups like The Boogie Kings, The Triumphs, and The Uniques.

Alto Saxophonist Vernard Johnson. He's best known for his Gospel playing, performing with preachers like, E.V. Hill, Billy Graham, and Bishop L. H. Ford. His saxophone was considered too raucous for the Gospel circuit when he began playing there in the mid-60's, but eventually he became a favorite on the evangelical circuit.