Music

Film critic Stephen Schiff calls the new biopic wrongheaded; Stone's version of the sixties, Schiff says, is both trite and incoherent.

Rock historian Ed Ward looks at some of the early integrated doo-wop groups. He says unlike today's white acts which appropriate black styles, those early groups truly mixed black and white performers and black and white musical styles.

Rock critic Ken Tucker reviews the latest albums by three British bands that are setting their country's post-Thatcher alienation to music.

World music critic Milo Miles gives a brief primer on the music of the newly-liberated country.

Terry talks with the great violinist Isaac Stern. Last week he was performing a concert in Israel when the sirens went off signaling a missle attack. The audience put on their gas masks, and the orchestra left the stage. But Stern stayed and continued to play.

Ladysmith Black Mambazo came to America's attention following their performances on Paul Simon's album, "Graceland." The ensemble's new album is called "Two Worlds, One Heart." Frontman Joseph Shabalala talks to Terry about his early life and rise to fame.

Shabalala, who died Feb. 11, fronted of the South African a capella group. He spoke with Terry Gross in 1991 about collaborating with Paul Simon on Graceland and growing up on a farm.

A while back, classical music critic Lloyd Schwartz reviewed a live recording by the late pianist Artur Schnabel. Schnabel lost his place during the performance, but the error was edited out of the recording. Now Lloyd has a chance to play the original for us, which he actually finds more enjoyable.

In honor of Saint Valentine's Day, film critic Owen Gleiberman reviews the 1946 romance, "Humoresque," with Joan Crawford and John Garfield. He says no recent romance films capture Hollywood's early edginess.

Jazz critic Kevin Whitehead says, though there's a wealth of wunderkinds in the scene today, listeners shouldn't overlook more seasoned musicians. He reviews a reissue of tenor saxophonist Clifford Jordan's 1961 album, Bearcat.

World music critic Milo Miles profiles Ali Farka Toure, a guitar player from Mali. Milo says Toure's influences are from Africa, but his sound has a lot in common with American blues.

Jazz critic Kevin Whitehead reviews a recent album by singer Shelly Hirsch and keyboardist David Weinstein. Their music draws from a diverse array of styles and traditions. Kevin says Hirsch is one of the most amazing singers in any genre.

Rock historian Ed Ward profiles Laura Lee, a gospel singer who in the late 60s and early 70s switched to soul. She became known for her feminist songs "Wedlock is a Padlock," and "Women's Love Rights." After a string of hits she went back to gospel music, recording with Al Green.

Rock critic Ken Tucker has never really liked the country singer's music, but he's long admired him. Yoakum's new album If There Was a Way stands out among the genre's recent, lackluster releases.

Rock critic Ken Tucker reflects on some recent songs that have come out in favor of or against U.S. involvement in Iraq, including those by Sean Lennon, Hank Williams, Jr., Andrew Tippin, and Randy Newman.

After seeing a performance the night the Gulf War began, classical music critic Lloyd Schwartz tells us about how music can be a poignant response to war.

Cellist Yo-Yo Ma talks about how the Gulf War has affected him as an individual and as a musician.

Rock and roll historian Ed Ward looks back on the music of 1981 -- a year he says was great for black musicians in particular, including Prince, Rick James, and Grandmaster Flash. British bands like Duran Duran dominated, too.

Bernstein has composed the scores for around 80 films, including "The Man With the Golden Arm," "The Magnificent Seven," and "The Ten Commandments. He's done the scores for 2 new films -- "The Field" and "The Grifters." He joins Fresh Air to talk about how he works with directors to write his music.

Jazz critic Kevin Whitehead reviews the soundtrack from the movie "Tune in Tomorrow" composed by Wynton Marsalis and recorded by Marsalis and his band. Whitehead says it makes good use of the trumpeter's conservative, backward-looking approach.