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Fresh Air's rock critic reviews The Con, the fifth album from Canadian twins Tegan and Sara Quin. Their music has been heard in a number of American TV shows, including Grey's Anatomy, The L Word and Medium.

In the 1950s, New York's Hickory House was known for its sizzling steaks and a swinging jazz trio led by a young female pianist with a British accent and a God-given touch. McPartland, along with bassist Joe Morello and drummer Bill Crow, held court at the Hickory House for more than a decade.

The legendary jazz trumpeter and composer premiered the seven-part Monterey Moods suite at the Monterey Jazz Festival. Hear his celebratory exploration of all the various forms of jazz that have come through Monterey in its 50 years.

"You Can't Fail Me Now" began life on Loudon Wainwright III's new album, but co-writer and producer Joe Henry reworks it on his own new album. Formerly a slow, hookless strings-and-guitar ballad, it's now more sparse, more morose and even lovelier.

Some songs rely more on the ferocity of the person singing it than the song itself. On "I'm Gonna Change My Ways," Peter Case testifies with the conviction of a true believer and howls with the intensity of a recent convert.

Saxophonist Frank Morgan led a life compelling enough for the big screen. A protege of Charlie Parker, Morgan took a dark turn that led to drugs, prison and, ultimately, redemption through music.

Fresh Air's music critic Milo Miles considers the work of the art-punk band Sonic Youth; the group's 1988 album Daydream Nation has just been reissued in a deluxe double-CD edition.

Following Jarrett's stellar performance at Carnegie Hall in 2005, Marian confronted the elusive performer and convinced him to put in an appearance on her show. Hear an interview and performance.

Gonzalez's "Killing for Love" opens with the intimate sound of fingers caressing guitar strings. His voice never rises above a clear-eyed tone, but Gonzalez's buzzy finger-picking and Erik Bodin's thwacking conga drum combine to form a hypnotic, driven pulse.

He is best remembered as the composer of the standard "Misty." But he also remains one of the greatest improvisers ever, a self-taught pianist whose unique approaches to melody, harmony and rhythm made him a star.