Looking for a way to answer one of the most asked question in classical music, while listening to some of the best music ever written?

"K is for Koechel: The Story Behind Those Mozart Numbers" goes beyond the numbers and provides a ton of provocative background information and insight into Mozart and his compositional process. Myths and Mozart myth-makers are busted, and the often used descriptor "genius" is properly defined and put into perspective. (He's still a genius, by the way.)

Beyond the insight, history and well researched speculation, the program insightfully recognizes what "makes it all matter: Mozart's music." And your host/producer Sarah Zaslaw, joined by her father (and Mozart scholar) Neal Zaslaw, wisely and cleverly keeps everything from crossing over into the dark side of the classical music education vortex. Zaslaw's bit at the beginning on how to pronounce and spell Koechel is one of several high points.

For classical music-formatted stations and all stations whose listeners value great music and a little "lifelong learning." Meaning...it can play well on non-classical stations with planning and proper promotion. Good for the evening and all weekend long -- try it before the MET or before/after WATC.

Typically, "One Hit Wonder" treatments give the "wonder-artist" back-handed compliments at best, and primarily dedicate themselves to the dark or unflattering reasons the artist only wrote one hit and struggled for the rest of his or her life. Not here.

This is a brighter, rightfully upbeat and respectful look at 8 "One Hit Wonder" composer/performers, as we hear at the top of the show: "Once upon a time, when the wind was blowing in just the right direction, it happened. The words fell into place, the melody came together and the performance clicked." The artists here all happen to be from Texas, but their hits are universal. And regardless of the singularity of their fame, the music and performers are treated respectfully. The quality and craft of their work deserves nothing less ? so in the end, "The Flipside" is a warm and endearing tribute to great music, the musicians and their stories. And the stories are fantastic, from the song with just two (maybe three) chords to the harmonica lick that inspired John Lennon.

More nice work from KUT's David Brown, with generous contributions from Michael Hall of Texas Monthly. Earlier, I recommended David Brown's "Live from Austin: Joe Ely" program ? still one of the finest programs available on PRX. "The Flipside," too, is a great one.

N.B. This program opens with a one-minute billboard and a five-minute (silent) news hole. The show picks back up at :06, and there are two internal breaks with music beds at :19 and :39.

Part Historical Document, part introduction anf part reintroduction to one of music's seminal moments and musical discoveries. Carole King's recording, "Tapestry" introduced the singer-songwriter into mainstream households. The recording became her calling card and a mandatory reference point for anyone in the '70s through the '90s who wanted to sing their own songs.

"Carole King: Tapestry," produced by Joyride Media, recounts the days, the business practices, the hoop jumping and creative adventures that brought music and musicians to the recording studio in the late '60s and '70s. Not a documentary, this is high level radio story telling about some truly (still) remarkable music, musicians and music producers. Host Rita Houston, and the show producers, keeps all of the music and Tapestry expert witnesses together. This story, like the music, never grows old.

For your post ATC slot, your program specials slot, and all weekend long, listeners will drop what they're doing for an amazing first time Carole King experience or for a wonderful reconnect with one of the big musical events of 1971.

I'm a Bluegrass weakling and neophyte. Like many, I know Alison Krause, the "Oh Brother..." soundtrack and a few standards, but that's about it. That either makes me unqualified or possibly well suited to come at Bluegrass music honestly and innocently.

I guess it's Bluegrass that I heard on the Bluegrass Review, but after hearing show #819, I had to do some Bluegrass rethinking and redefining. And I'm grateful for the opportunity to think again.

Maybe that's the program's (and the weekly series) only problem or obstacle -- undoing or getting beyond the sonic and visceral expectations associated with what we've come to believe defines the Bluegrass category and label.

The music of "Bluegrass Review" might not be right for your music format - but I propose it might be a better fit for some formats than you, me and we might expect. It's fun, pretty, virtuosic -- the harmonies can turn your insides out, and the story lines resonate and translate to contemporary times.

Even though the show operates within a theme, there was plenty of musical contrast and superb musical flow.

And how many show hosts do you know who can create relevant breaks in 20 - 40 seconds - with more than the obligatory information, and plenty of natural personality and "hostiness"? Meet Phil Nusbaum.

Nice read and strong thoughts from cellist Yo-Yo Ma - suitable for your classical music programming, classical music imaging and as a fundraising option.

This is not just a "classical" programming option. His points about music serving as a meeting place for citizens from different cultures, and people with different views, makes this a strong fit for a variety of public radio formats.

For example, "Every day I make an effort to go toward what I don't understand. This wandering leads to the accidental learning that continually shapes my life."

Edit this piece, as needed, to fit within the constraints of your station's fundraising and standard break-length philosophies - with the permission of the Licensor (This I Believe).

There's a small but powerful force of radio hosts, producers and writers who are winning the war against the music education traditions that have made "music education" a four letter word on classical music radio.

Here's one of those victories.

"Symphony Space Live: The Ying Americans" is a pure musical experience with concise, well intoned and interesting musical and historical background. The Ying Quartet plays Samuel Barber's String Quartet, and relatively new quartets by Michael Torke and Patrick Zimmerli. (Please note the music and performance advisory at the end.)

Without pomp and circumstance, host Stefon Harris and writer Jackson Braider give us a sense of who put the American in String Quartets written by American composers. It's a question that can't necessarily be completely understood or answered, and that may be what makes the program work as both music and "music education." The host, writer and producers don't try -- or try too hard -- to find definitives. Nor do they leave us guessing. Discovering or getting close to identifying the source of the American in American String Quartets is confidently left to our own ears.

Consider airing this program after ATC on Weekdays, or later in the evening as your schedule permits. It's also suitable for weekends and any of your regularly established documentary or specialty programming slots.

The music to talk ratio is ideal.

As always, significant pre-promotion is highly recommended to get the sound of the show and the music in the heads of your listeners. Barber's String Quartet, and its eternal Adagio, is one of the program's draws, and that may be the only invitation your listeners need.

The melodies and harmonies of Michael Torke's "Corner in Manhattan: Sixth Avenue in the Afternoon" will grow on you (a few moments of Ying scratchiness aside). Patrick Zimmerli's "American Spiritual" for String Quartet begins warmly and reclaims much of that warmth after alternating sections that are more conflicted in nature. Some of Zimmerli's motifs are profoundly moving.

The Barber, Torke and Zimmerli quartets each project a clear, deep beauty and deserve radio consideration. The decision of whether the music fits stations' programming philosophy will likely vary. I'd like to stay out of that decision process, because it understandably and properly varies from station to station. But, I definitely feel the substance and craft of the music is worth your consideration.

Jazz Masters Moments (NEA Jazz Masters)

NEA Jazz Masters - a series of 10 vignettes (1:00 ? 2:00), focusing on a moment between two artists or a notable jazz moment in time. These are energizing feel-good pieces that inform and entertain along the way.

Especially strong: Ramsey Lewis tells the unassuming origin of his colossal hit, "The In Crowd;" "Slide Hampton on the Art of Improvisation" and "Buddy Defranco on Achieving his Musical Status."

Offered as Black History Programming, but more than appropriate for enhancing and enriching your fundraising sound. They're also worth thoughtful consideration for use during local jazz programming and within ME and ATC cutaways - not as fill, but as a way to promote local jazz programming and your station's jazz brand.

Very tasteful overall, with clean, sparse writing and discreet hosting from Delfeayo Marsalis.

Timely for now, timely for nearly any air time, and especially timely if you find yourself in a position to introduce the soul, struggle, whimsy and aching beauty that pervades Bill Evans' music to first time listeners. But this is also a celebration for all Bill Evans fans and admirers.

Host Nancy Wilson and the JP producers unobtrusively, yet with clarity and authority, weave their way in and out of the music to bring you the relevant descriptors and biographical notes that make the many veins of Evans' music resound so movingly and memorably.

The program's autobiographical elements that explain the fueling and shaping of Evans' music may stand out a bit on a local jazz shift, but will work superbly in your station's specialty program or documentary slots. There's also a place for the program from late morning on during your weekend programming.

The Bill Evans story, like Bill Evans' music, never gets tired. Jazz Profiles has done a superb job of advancing the story of a performer whose music can easily speak for itself. This show will appeal to those making their first or second acquaintance with Bill Evans and will also warm up those who were converted long ago.

The Clash: Revolution Rock

Best placed on stations with AAA, Alternative Music, eclectic music formats and possibly dual format, NPR News / AAA stations.

Three strong appeals for this program, all from the listener's perspective, but there's a Radio insider's appeal as well.

The art and craft of radio and pubic radio's other core values are on solid display in this successful music documentary. The music itself, and the story behind the music, share equal billing and appeal on significant levels.

The compelling human storytelling components of the program evolve naturally. So does the musical story for those not familiar with the Clash and the punk movement they either founded or refined while also taking it to new and substantial musical levels.

This show, I think, will please Clash fans that have lifted the band to cult status, and there is similar appeal for other broadly tasted music fans. I'll let the more knowledgeable Clash fans and experts speak for themselves, but I suspect they'll say this Joyride Production does the band justice.

And while radio, and PRX, is first and foremost about listeners, this program serves as a living template, instructional device and perspective provider for those learning, teaching and honing their radio documentary chops. A pleasure to hear and an inspiring pleasure to learn from.

Appreciative strokes to Joyride Media for knowing how to format and package the program for use on the radio and to host Delphine Blue who knows exactly what she's doing and saying.

Some musicians can't talk or readily put together coherent thoughts about the music they love and likely perform better than most. They simply put their heart, soul and understanding into their instrument.

Enter composer Joan Tower: she can talk, she can tell stories and move you with her words. And, she will likely help your station raise money in only 89 seconds.

From the "This I Believe" Series, the American composer discusses the power of music in her life. She lists her own connections and reliance on classical music in a way that will resonate with your listeners, who will both see and remember their own connections and emotional attachments to the music they love.

Within the context of classical music fundraising, this is a powerfully crafted message that reinforces the value and benefits of classical music on Public Radio. The spot reflects what research has taught us about why people listen to classical music (and what we know anecdotally), and it will provide additional authority to your on-air fundraising sound.

Outside of fundraising programming, this piece will shine up your arts magazine programming, and with thoughtful and exceptional creative planning, placement and forward promotion, it could also fit within a local classical music shift.

Max Roach Drums Unlimited
(Ben Shapiro Producer)

The challenge in producing a music documentary is getting that balance between music and talk, musical enjoyment and musical education. To my ear, too many music documentaries and some of the weekly music shows leave listeners hungry for the music - they never get their musical fill.

I like this documentary. Even though the talk to music ratio is about equal, Producer Ben Shapiro has found a way to give us the history, context, personality and innovations behind one of music's top players and thinkers without sacrificing a strong musical presence.

Host Kenny Washington is clearly a Max Roach fan, but hosts this program without fawn. Equally impressive, Mr. Washington is also a drummer with an ability to avoid drum-speak when introducing and exalting Roach's innovations.

If I had known in advance that Mr. Washington sings along with the music, to emphasize the innovative character of his approach to rhythm or melody, I probably would have diminished my expectations. But, Washington's brief sing-alongs are a great bit, and, in a sense, better than words as a way to underscore and highlight Max Roach's inventions and musical contributions.

I'd suggest running this program after your weekday news block at 7 or 8 pm. It's perfect for the weekend afternoons and evenings, and would especially add hope to a Sunday evening in anticipation of a dreaded Monday morning.

Max Roach Drums Unlimited does break the unofficial "length-of-drum-solo" rule near the top of the show (I'm not sure if you're allowed more than 15 seconds...), and there's a bleeped S-word at 58:03 in...fyi.

NPR's Tom Huizenga has done a good job painting a brief but fulfilling portrait of singer Maria Callas and her life on and off the stage. Of great importance and appeal, this 4:25 feature is absent the standard foaming at the mouth fawning that accompanies 9 out of 10 Callas testimonies and tributes.

With its music to talk ratio, pleasing music mix and flow, this piece works during your evening and weekend classical music programming. With proper placement and promotion, it could also work during midday or afternoon classical music dayparts.

There is an anniversary time peg to the piece, but the subject matter and content provide more than enough appeal and interest to credibly stretch that broadcast window as needed.

NPR Music has produced a concert performance of Stravinsky's Rite of Spring, with Marin Alsop conducting the Baltimore Symphony Orchestra and musicians from the Peabody Institute. The orchestra's performance is strong and convincing, and Alsop takes a spirited, forward moving approach to pacing and tempo. Alsop and the orchestra avoid the traps of previous recordings and performances where the music's primitive angst often bogs down the music. This program offers you an opportunity to give your listeners a Rite of Spring with notable interpretative contrasts to recordings in your Music Library.

You have two presentation options:

a. The music-only version is suitable for afternoon classical programming (depending on your station's day-parting policies), weekend afternoon programming and would also work well within your evening classical music block. Think of it as a CD with a recent live performance rather than one of the concerts you would hear on a traditional orchestra broadcast series.

Total music time is 34:36, with the need for stations to provide a front and back announce.

b. Your other on-air option is to include a Scott Simon interview (9:55) with Marin Alsop. Using appropriate musical examples, they talk about the work's opening night controversy, its innovations and historical fine points without going overly academic. Though longer than stations may prefer, the interview length is justified by the relevance and quality of their conversation and use of musical examples. Total time with the Simon/Alsop two-way is 44:30.

In the context of some station's on-air sound, Scott may be a bit over the top at the beginning as he introduces the music in the interview segment.

With or without the Alsop/Simon discussion, stations will need additional music to compete the hour.

WNYC'ss "cultural attache" Sara Fishko talks with American composer Ned Rorem. This 59 minute interview, with plenty of music and interesting and amusing musical anecdotes, is worth hearing if only to hear Rorem say, and then explain convincingly, how French music is "profoundly superficial", and German music is "superficially profound."

The back and forth between the composer and host includes well chosen excerpts from Rorem's own compositions, including the Barcarolles, the Concerto for Piano Left Hand, Eleven Studies and several songs.

Rorem remembers some of his early run-ins with Leonard Bernstein, Aaron Copland and Virgil Thompson, and presents a compelling theory linking composition to acts of musical thievery and cover up.

Rorem is a fascinating and compelling thinker who expresses ideas and opinions easily, and no matter the complexity, he always speaks in listener language. Though highly opinionated - he never annoys or condescends. More importantly, he always provides clear and intelligent support of those strong opinions.

Highly suitable for evening and weekend classical music programming. I could hear this on a Saturday afternoon after the MET and easily on a Sunday afternoon or late morning.

This is an engaging and highly entertaining program devoted to Gabriela Montero, a classically trained pianist with a remarkable gift for improvising music on the spot.

Hosted by Lisa Flynn, and produced by WFMT, the program includes Montero's wonderful improvisations of Bach keyboard music, "Somewhere" from Leonard Bernstein's West Side Story, some traditional Latin American folk music, and also includes Montero's "straight" and highly accomplished playing of Rachmaninoff.

"La Pianista Apasionada" also intersperses brief artist biographic elements and insightful interview segments with the pianist that are well timed and well placed -- the music to talk ratio is ideal.

Suitable for early evening classical music program blocks and weekend afternoon classical programming. The wide musical appeal, interesting performer information and the attractive flow of the program makes it worth considering for use inside and outside of your classical music blocks.