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Idan Raichel has made his name by mixing cinematic Israeli pop with the sounds of his country's immigrant community. His latest album reaches even farther afield, with singers from Colombia, Rwanda and the Cape Verde Islands.

Wearing dark shades throughout its session at The Current, Glasvegas played with only two members for a sort of ambient-inspired folk sound. Wading through the strong Glasgow accents might be difficult for the untrained ear, but the music of Glasvegas connects the dots.

This year marks the 70th anniversary of Blue Note Records, whose roster once included heavyweights Thelonious Monk and Horace Silver. Singers were a rarity, but Sheila Jordan has outlasted them all.

Growing up in New York, Diana Jones devoured the music of Patsy Cline, Johnny Cash and Emmylou Harris. She left home at the age of 15 in search of her roots, and discovered them in the music of the Eastern Tennessee hills. Jones' latest album is Better Times Will Come, a vivid 11-song collection that's biographical in nature.

Late in his career, Mozart explored feelings of extraordinary emotional agitation in his symphonies. Ted Libbey recommends recordings of these works that balance power and passion, performed by the Berlin Philharmonic.

Composers seem to equate villainy with the bass voice. All the better for Samuel Ramey, whose resonant low tones have thrilled opera audiences worldwide as he plays libertines, devils and scoundrels.

Music critic Milo Miles reviews two new albums: Booker T. Jones's Potato Hole, and Allen Toussaint's The Bright Mississippi.

The Israeli-born songwriter took a grassroots approach for his debut album by releasing it on his own label, A Quarter Past Wonderful. Quiet melodies, weightless layers of strings and percussion are the result of his three years working on The Opposite Side of the Sea.

With layered electronic melodies, freak-folk drones and road-worn personal narratives, the dreamy San Francisco band is led by Jason Quever. His sincere vocals give Papercuts a timeless pop-rock sound, but with an independent twist.

New Orleans is not only the cradle of jazz. It's also the birthplace of great jazz piano, dating back to the early 1900s, when Jelly Roll Morton tickled the ivories. Hear three pianists who are keeping upholding that great tradition — Allen Toussaint, Henry Butler and Jon Cleary — onstage at the Kennedy Center in Washington, D.C., with Keys to New Orleans.