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Nastiness and cynicism often take precedence over melody in Colin Newman's singing, but not in Wire's "Smash." For all the harsh guitars hanging in the air, Newman's words glide onto the hook like apple butter, sweet and smooth.

In "Coming Home," Bjorklund's playing conjures up romanticized roadhouses and late-afternoon sunlight filtered through whiskey, smoke and windows coated with decades' worth of dust.

Once the horn section comes in to add an exclamation point to everything, there's no turning back.

Now that the Scottish people have voted to remain in the United Kingdom, it's time to salute their classical musicians — from soprano Mary Garden to composer James MacMillan.

It'd be hard to top the craftsmanship that went into the songs on Southeastern, but Isbell thinks he's done it.

The quintessential crooner talks about the significance of American popular song, his favorite songwriters and his love of painting in this program from 2004.

With a sweetly ferocious style, the alto saxophonist bridged the post-bop of the 1950s and '60s to the jazz fusion of the '70s and beyond. For the anniversary of his birth, hear some of the recordings which made him jazz royalty.

Russell plays with the simple, sultry jazz standard "Romance in the Dark" in unexpected ways.

Iyer and his trio masterfully articulate a complex composition's exuberant, zigzagging melody.

Eschewing the double-entendre its title suggests, "I Got High" looks at life's twists and turns.