Music

Performer-in-residence Dick Hyman talks about the late musician's approach to jazz. Hyman briefly studied with Wilson, who had a light touch and clarinet-like phrasing.

In an age when musical distinctiveness is paramount, the band Was (Not Was) switches genres -- and lead vocalists -- from song to song. Rock critic Ken Tucker reviews their new album, What Up, Dog, which features guest singers Elvis Costello and Frank Sinatra Jr.

Rather than features songs from the 1970s in the recent Patty Hearst biopic, the filmmakers recruited composer Scott Johnson to write the soundtrack. His dense score combines synthesizers with heavy percussion, but retains the accessibility of pop music.

Tom Waits' music is changing, incorporating new styles like tango and Tin Pan Alley. He has a new performance film called Big Time, which features Waits singing different personas, and an album of the same name.

Classical music critic Lloyd Schwartz never saw She Loves Me on Broadway, but recently discovered the reissued original cast recording. He says the musical has the feel of classic operetta, and succeeds at everything it sets out to do.

Rock historian Ed Ward considers the influence of early Mexican American rock bands. Sam the Sham and the Pharaohs were a goofy novelty act; the Question Marks incorporated the sounds of traditional Mexican music into their songs.

Jazz singer Sheila Jordan grew up in a Pennsylvania coal mining town. She says if she had never heard Charlie Parker, she would have become a country singer. She was recently laid off from her day job of 21 years; now she can perform full-time. Bassist Harvie Swartz joins her for an in-studio performance.

Bassist Milt Hinton pushed his instrument to new territories in jazz. He was also an avid photographer, who took pictures other noteworthy musicians during their tours across the country. His new memoir and photography collection is called Bass Lines. Jazz critic Kevin Whitehead says the book brings Hinton out of the shadows.

Performer-in-residence Dick Hyman demonstrates the techniques that defined Fats Waller's sound.

Rock critic Ken Tucker says that the black rock band Fishbone takes African American stereotypes and stretches them until they break. The band deserves more attention for their insightful social commentary and screaming live shows.

Classical music critic Lloyd Schwartz says that a new album by soprano Arleen Auger is extremely lovely, but few of the tracks haunt his memory.

Don Glen Vilet is a painter who recorded experimental, blues-inflected music under under the name Captain Beefheart. Rock historian Ed Ward says that, while Beefheart was never a commercial success, his influence can be heard in everything from pop to heavy metal.

After leaving art school, Malcolm McLaren started a clothing store called Sex, and later helped assemble the punk band the Sex Pistols. McLaren says the group's talent was secondary to its subversiveness.

Jazz critic Kevin Whitehead has been thinking a lot about west coast jazz. Some easterners think the scene is tame and enervating, but Whitehead says the adventurous new album by Bert Wilson and his band Rebirth proves them wrong.

Fresh Air performer-in-residence Dick Hyman looks at the early jazz style, discusses some of its early practitioners, and plays some tunes in-studio.

Last year, Ken Tucker reviewed albums by Randy Travis and Dwight Yoakum, whom he thought had the power to shake up the country music establishment. Now they are the establishment, both with new albums. Tucker says Travis gives listeners a postmodern take on traditional country; Yoakum has fashioned himself the genre's Raymond Chandler, with songs that are brooding and sometimes offensive.

The Nonesuch label has released new recordings of early sacred songs by Ensemble Alcatraz, who perform on period instruments. Classical music critic Lloyd Schwartz says that, since the music on "Visions and Miracles" draws on so many cultural traditions, it's a source of constant discovery.

Rufus Thomas was a Memphis-based disc jockey who helped promote black music throughout the south. He also became a recording artist and producer who wrote dozens of dance hits. Rock historian Ed Ward has this profile.

Sidney Bechet broke new ground as a soloist early in jazz's history, paving the way for nearly every saxophonist who came after him -- from Charlie Parker to Steve Lacey. RCA has just reissued a collection of his recordings. Jazz critic Kevin Whitehead has this review.