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On New Year's Eve in New Orleans, the Evan Christopher/Tom McDermott Danza Quartet held sway with a set of music that was anything but picayune. With a sousaphone-toting bassist and a tambourine-banging drummer, the quartet made the show an affair to remember.

Her father was Louis Armstrong's musical director in the 1930s. Her mother still plays the bass. So it's no surprise that Russell has chops. She sings a set of bluesy numbers and standards for Mountain Stage.

Her birthday concert continues with more one-of-a-kind performances, featuring Wynton Marsalis.

Canadian producer, singer and songwriter Koushik is 100 percent do-it-yourself. His wildly diverse sound stretches across psychedelia, pop, soul and hip-hop. He talks about his new album Out My Window, being a math nerd and keeping his head clear.

After releasing her debut album, 19, to critical acclaim earlier this year, British artist Adele was dubbed the next Amy Winehouse by the British press. The young singer-songwriter talks about her record and her new-found fame.

Fight the Big Bull sounds like the brainchild of a young composer who grew up with rock on the radio, jazz canons in the conservatory and everything else at his disposal on the Internet. The orchestration of "Dying Will Be Easy" has the fullness and audacity of a Mingus or Ellington.

Featuring Stanley Clarke, Marcus Miller and Victor Wooten, the electrifying S.M.V. blows aways audiences with their new project, which spans three generations of bass styles. In addition to a session by S.M.V., there is a bonus set with just Victor Wooten.

Souza is grace personified. The vocalist evokes her native Brazil in new bossa novas and her own interpretations of North American classics at the Kennedy Center Family Theater.

Bebo Valdes left Havana 50 years ago, but at the piano, it's as if he's still there. He's not reviving anything; he just kept on doing it the old way, long after music in Cuba had moved on. On Live at the Village Vanguard, Valdes shares billing with his frequent duo partner, bassist Javier Colina.

A mecca for classical composers looking for ways to bridge music and technology, IRCAM in Paris has been an incubator for some of the most compelling developments in contemporary classical music and acoustics of the past three decades.