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For the past three decades, English singer-songwriter Elvis Costello has been traveling the world, performing music of every kind. Here, he sits down to discuss the sound and themes of his latest album, Secret, Profane & Sugarcane.

Soy Sauce, from the Mexico City-based Mexican Institute of Sound, pushes eclecticism to a new level. It combines mariachi with hip-hop, rock and electronica. Tossed in are elements from political speeches and the barnyard.

Sarah Jarosz, 18, emerged on the bluegrass scene as a prodigal mandolinist, banjo player and guitarist — and recently, a singer-songwriter. In between math classes, she's managed to cut her debut album, Song Up In Her Head.

Marin Alsop says she can't remember the first time she met composer Jennifer Higdon, and both simply believe they've always known each other. Oddly, the two women have never had a conversation about gender in the classical-music world — that is, until now. Higdon's Violin Concerto is set to be performed by Hilary Hahn next month.

A now-infamous 2008 trip to Avatar Studios brought Liane Hansen face to face with her vocal limitations. But she also met a young artist making her debut recordings. Now Sabrina Scott has released her EP, called A New View.

Jazz critic Kevin Whitehead reviews Lucky Thompson: New York City, 1964-65 featuring rare live recordings of saxophonist Lucky Thompson.

Asleep In The Bread Aisle is the latest release from rapper Asher Roth, who grew up white in the suburbs. Roth says he hopes his work — as well as the person he happens to be — will challenge the hip-hop community.

Rock critic and Fresh Air regular Ken Tucker joins the show to review Wussy, the self-titled third album from the Cincinnati, Ohio quartet.

U.K. musician Natasha Khan, better known as Bat For Lashes, uses a fusion of keyboards and harps to generate tribal beats and electronica. She speaks on the uncommon sounds and ideas behind her acclaimed new album, Two Suns.

Critic Tom Manoff reviews a new recording of Rachmaninov's preludes by pianist Steven Osborne, who opts for innocence over opulence, giving each of the 24 preludes its own distinct and compelling character.