Music

The avant-garde artist has a retrospective exhibition at the Whitney Museum in New York City. Growing up, she divided her time between the United States and Japan, before and during World War II. Her marriage to John Lennon made her a celebrity, but overshadowed her own work.

Jazz critic Kevin Whitehead says that tenor saxophonist Benny Carter, now 81, has preferred to work behind the scenes, often allowing his collaborators to take the spotlight on his recordings. But Carter's newest album, My Kind of Trouble, puts him front and center where he belongs.

In celebration of the coming of spring, jazz pianist Dave McKenna performs three songs with "April" in the title.

Marcus is fascinated by the disruptive and enduring power of the Sex Pistols. His new book, Lipstick Traces, connects the rise of punk with Dadaism and other nihilistic art movements.

Rock critic Ken Tucker considers the recent trend of British bands taking their cues from American soul music, with varying success. Recent examples include songs by Simply Red, The Pasadenas, Boy George, and Fine Young Cannibals.

Classical music critic Lloyd Schwartz that many performers have overlooked Liszt's music, in part because of the composer's flamboyant reputation. But a new album by pianist Russell Sherman reveals the craft and innovations of Liszt's work.

William Bell had a decade-long career with the label. Rock historian Ed Ward says that, while Bell never had a mainstream hit, he made consistently great, literate soul music.

Part 2 of the Fresh Air interview with composer Steve Reich. He talks about a new compostion called Electric Counterpoint, written for guitarist Pat Metheney. Metheny pre-recorded ten tracks, then performed the solo part live.

Jazz critic Kevin Whitehead reviews tenor saxophonist David Murray's new album, Ming's Samba. Whitehead says he revives some off-beat jazz traditions to create his distinctive sound.

Jazz pianist Dave McKenna is known both for his large repertoire of songs and his improvisatory skill. He joins Fresh Air to offer a musical meditation on the change of seasons.

The minimalist composer's new piece, Different Trains, contrasts Reich's childhood experiences crossing the country by rail to visit his divorced parents with the memories of Holocaust survivors' journey to concentration camps. The music incorporates recordings of several interviews into the orchestration.

Rock critic Ken Tucker appreciates Madonna's provocative public persona; she's used her irresistible music to create videos and commercials that make controversial use of religious iconography. But her new album can't fully match her image; Tucker says there are too many ballads and not enough pop hooks.

Not much of Cornysh's work survives, but the vocal ensemble the Tallis Scholars has unearthed enough to record a new album of the composer's sacred and secular music. Classical music critic Lloyd Schwartz says it's as excellent as all of the ensemble's previous recordings.

Johnny Kidd started wearing his trademark eyepatch after a guitar string snapped mid-concert and injured him. His rockabilly-infused music inspired several British invasion bands, but Kidd could never match their success. Rock historian Ed Ward tells the story of his short career, and the legacy of his backing band, the Pirates.

Jazz critic Kevin Whitehead reviews a new reissue of recordings by Artie Shaw's quintet, the Grammercy Five, which went through a lineup changes over the years. He says it reveals the seriousness of Shaw's search for greatness.

Pianist Kenny Barron says that the late jazz musician's style was jagged, percussive and dissonant. Barron performs some of Monk's compositions to demonstrate this innovative approach.

Writer Mark Ribowsky has a new biography on the prolific and reclusive record producer, called He's a Rebel. Phil Spector innovated new studio techniques; his airy, heavily-overdubbed music helped form the California sound. Ribowsky also describes Spector's severe, domineering personality, and his frustration with changing trends in pop music.

Raitt's first album in three years, called Nick of Time, was produced by Don Was of the band Was (Not Was). Rock critic Ken Tucker says its diverse songs showcase the singer and guitar player's rich voice and increasing accessibility.

Classical music critic Lloyd Schwartz reviews a new recording of the Estonian composer's version of the Passion of St. John. He says that its simplicity reveals surprises, and that, even at 70 minutes, the piece never grows tiresome.

Critic and composer Gunther Schuller's new book, The Swing Era, examines the history of big band music. Though he is already a jazz enthusiast, Schuller says he researched his book as if he had no prior knowledge of the genre, hoping to craft a more comprehensive and objective account of that its development.