Music

Composer and keyboardist Wayne Horvitz was associated with the Manhattan downtown scene of experimental composers and improvisers. Now a resident of Seattle, he fuses his diverse musical influences in a new album called The President.

New performers-in-residence, singer Joan Morris and pianist William Bolcom, play two of their favorite Rodgers and Hart songs.

Rock critic Ken Tucker says that most singer-songwritiers who find success early on never recapture the spark of their best work later in their career. But Elvis Costello bucks the trend on his 13th album, Spike.

Goode was recently commissioned to record all of Beethoven's piano sonatas. He joins Fresh Air to discuss the challenges of that endeavor, the process of memorizing the repertory, and his early musical training.

Classical music critic says that no music is more fun than a good operetta. A new collection of lesser known works by composer Jacques Offenbach is more fun than almost any other album this year.

Charlie Rich was a jazz enthusiast who wrote for many legendary country and rock musicians on the Sun Record Label. Rock historian Ed Ward says, for Rich, recording his own, original music was an afterthought. He had a few hits on various Memphis-area labels, but could never break through into the mainstream.

Performance group Robert Kaplow and the Punsters stage a radio play with Fresh Air host Terry Gross. Elvis Presley joins the show to talk about the current direction of pop music.

On his new album, trumpeter Herb Robertson reinterprets several compositions by the late pianist. Jazz critic Kevin Whitehead says the record emphasizes the jubilance of Powell's music, rather than the difficulties he faced later in life.

Rhys Chatham is a classically-trained, minimalist composer who incorporates rock influences into his music. He joins Fresh Air to talk about his choice of instrumentation, and the evolution of his work over the years.

Rock critic Ken Tucker reviews the new country star's latest album, which flirts with jazzy blues with surprising success.

The classical musician says, now that she's established herself as an accomplished performer, she no longer feels the need to prove herself. She got her start early; her mother made sure she practiced. At nineteen, after a nine-month hiatus from the violin, she finally decided she wanted to devote her life to the instrument.

Leroy Anderson was classical composer who often used popular forms in his orchestral music. Classical music critic Lloyd Schwartz says a new collection of Anderson's Americana-infused work reveals his charm and wit.

Rock historian Ed Ward says that 1960s bands from Oregon and Washington are often overlooked. Their style was distinctive, featuring distorted guitars and raw, sneered vocals -- a sound that endures today.

Jazz critic Kevin Whitehead says the blues singer's reissued album of Bessie Smith songs is a winner. Recent attempts of contemporary pop singers to cover the work of classic artists can't compare to recordings of Baker's era.

Rock historian Ed Ward says the city has long celebrated the holiday with rock music, some of which incorporated Black Indian traditions and style.

Rock critic Ken Tucker once more looks at the best and worst songs currently hitting the airwaves. Represented artists include Matthew Sweet, Bunny Wailer, Violent Femmes, Tone Loc, and Emmylou Harris.

The group Marimolin comprises marimba player Nancy Zeltsman and violinist Sharan Leventhal. Their self-titled album features new compositions written especially for them. Classical music critic Lloyd Schwartz says it's delightful, and hopes the duo finds success.

New York-based John Flansburgh and John Linnell write quirky rock songs on guitar and accordion. For the past four years, they've maintained their dial-a-song service, wherein fans can call a number to hear new music from the band. Their new album is called Lincoln.

Johnny Otis, who was born to Greek parents, claimed he became black by immersing himself in African American communities and culture. He later opened a blues club in Los Angeles, and helped promote new talent in the scene. Rock historian Ed Ward tells his story.

Kevin Whitehead says that some listeners place too much emphasis on Tom Harrell's schizophrenia, which often makes him appear withdrawn while performing. Whitehead thinks they should pay more attention to how the jazz trumpeter and flugelhorn player can make fresh music out of familiar ideas.