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WGLT Program Guide, November-December, 2007

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WGLT Program Guide, November-December, 2007 Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Fall 11-1-2007 WGLT Program Guide, November-December, 2007 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, November-December, 2007" (2007). WGLT Program Guides. 215. https://ir.library.illinoisstate.edu/wgltpg/215 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. IN THIS ISSUE: StoryCorps Hot new bluest-shirt Whole lotta shakin' e bestjazz pianists, Bill a ap has beenhis mark in the jazz making his mark in for decades. Charlap was born in New York City into a musical fam­ Saturday, February 2, 2008 ily. His father, "Moose" Charlap, was 8:00pm a Broadway composer and songwrit­ er, and his mother, Sandy Stewart, is $22 a Grammy-nominated popular singer who performed with Benny Good- Center for the Performing Arts Concert Hall Illinois State University, Normal man. Charlap began playing the piano at age three. He studied classical music, but his first love was jazz. He went on to work with Gerry Mulligan, Benny Carter, (doors open for general admission seating at 7:00 pm) Tony Bennett, and Phil Woods. Playing together since 1996, his fine trio of bassist Peter Washington and drummer Kenny Washington has recorded four CDs. sponsored by: Their 2004 recording Somewhere: the Songs of Leonard Bernstein received a Grammy nomination. He is a regular at Greenwich Village's legendary club, Dunbar, Breitweiser the Village Vanguard. & COMPANY. LLP Charlap's two latest releases (on Blue Note) are Bill Charlap Plays George Gershwin - The American Soul, and a CD of ballads recorded in duo with his mother Sandy Stewart titled Love is Here to Stay. On February 2, 2008 Bill Charlap takes the stage at ISU's Center for the Performing Arts Concert Hall for the 6th annual GLT Jazz Masters concert. Tickets are $22 and are available online at wglt.org or by phone at (309) 438-8910. Charlap will offer an afternoon Masterclass where he will discuss his experiences in the jazz world. This class is free and open to all ages. For additional information and Masterclass times, go to wglt.org. The GLT Jazz Masters concert and Masterclass are made possible by the generous sponsorship of Dunbar, Breitweiser, and Company, LLP in Bloomington. Top of the Class Antiques Quality Show and Sale February 8 -10, 2008 GLT and the ISU School of Communication invite you to the finest antiques show and sale of the year. In our fourth year, there will be over 40 dealers who specialize in a wide range of top-quality antiques, from furniture to miniatures. Tureens to jardinieres, photographs to primitives - you're likely to uncover a piece of history that you just have to own. Mad Cat Antiques specializes in vintage toys. Cross Eyed Cricket is draped with jewelry, and Beverly Forrester carries high-end China and porcelain. The dealers really know their stuff and are happy to share their love of antiques with you. We will also offer three presentations on antiques with local interest by experts in the field. Listen to GLT or check at Friday, February 8 wglt.org for information on lecture topics, times, and presenters. 5 - 6 pm Early Buyers - one full hour of early shopping $10 admission at the door Admission $5 ( $1 off with this coupon) 6-9pm Show open to the public One admission good for any or all three days $5 admission when show is open to public. Illinois State University, Bone Student Center Saturday, February 9 Brown Ballroom and Circus Room 10am-6pm 100 N University St, Normal, IL All proceeds benefit Illinois State University's Sunday, February 10 School of Communication and 10am-4pm the GLT Equipment Fund 4 ) Q: Have you been surprised by anything StoryCorps Producer Dave lsay in your experiences with this project? Are Tells His Own Story there any trends in these oral histories? A: Most surprising personally is that the stories don't repeat, as we assumed they StoryCorps, which you can hear on would - the interviews just keep getting GLT between 5:00 and 9:00 am better. Everyone, across color, gender, and every Friday during Morning political stripe, talks about similar themes Edition®, has fast become one of the - love, parents, death - with endless most beloved features of the show. In September, StoryCorps Producer fascinating stories spinning off those David Isay was awarded an Edward R. themes. You realize that there's so much Murrow Award by the Corporation of more we share in common as a nation Public Broadcasting. The industry's most than divides us. prestigious honor, the Murrow Award is pre­ sented to individuals who foster public radio's Q: How does StoryCorps compare to other radio projects in which you've been . hoto.com involved in the past? quality and shape its direction. Here Isay talks . about what makes StoryCorps so special. A: It grows out of, and expands on, the documentary work of Sound Portraits. The mission of Sound Portraits has always been to give the power and authority of the Q: When and how did you first conceive microphone to people - be it on Death Row or the Bowery - who normally of StoryCorps? don't have that opportunity. StoryCorps simply takes that idea and multiplies it A: It grew out of the radio documentary work we did on "GhettoLife 101" in 1993, - applies it to absolutely everyone. where we saw the impact of giving people microphones and having them interview family members. Q: How will these oral histories be added to the collections of the Library of Con­ gress? Will they be on display? Or simply housed for future generations to access? Q: How did you learn about the Works Progress Administration's Federal Writers A: StoryCorps is the first "born-digital" collection at the American Folklife Center Project and how did it influence StoryCorps? at the Library of Congress. We actually hand over a hard drive with stories, data A: For years Sound Portraits [a not-for-profit independent production company sheets, and photos for every interview. When you sign a release (which 99.9% established in 1994 by lsay] mined the American Folklife Center's archives for of participants do), your recording becomes part of the public domain. The fact any recordings we could possibly use for documentary shorts. The recordings are that it's all digital allows us to dream big - to imagine the day when the entire a national treasure, and the spirit and ethos of the WPA are a touchstone for us. collection is searchable. It's humbling and inspiring to have people like Studs Terkel and Stetson Kennedy involved in this project. We're walking in the footsteps of giants. Q: Projecting into the future a bit, what do you think generations gain from these oral histories? Q: What do you think is the significance of this project? A: The voice is so intimate and personal and reflective of the soul - to hear A: It's about honoring loved ones by sitting across from them, asking to hear about your great-great grandmother's voice and story will be an enormously powerful what matters most to them, and really listening. It tells people they matter, and experience for future generations. Because we work in radio, we believe that the it brings people together in a way that continually surprises us because of how soul really is contained in the human voice. The fact that this is a public radio genuine and unforced it is. It's really all about having meaningful experiences right project is what has allowed it to soar. now, but in the future it will be an enormously valuable archive - a "bottom up" history of life as it's lived through the eyes and stories of everyday people. At the StoryCorps website www.npr.org, you'll find archived audio, more history on the project, a map of the project's progress and information on capturing your own oral histories. -6 GLT Music Director/Blues Host Jon Norton loves his job. He gets to pick the best GLT Jazz Host Laura Kennedy gives you a sampling of what you'll hear on GLT Jazz new artists to mix in with blues classics on GLT Blues all weekend long (see pgs. every Mon-Fri from 9 am-4 pm. 22-23 for complete schedule). Here are some he recommends: Jeannie Tanner Tanner Time (Tanner Time Records) L.A. Blues Alliance What A Life (Babyree) Chicago trumpeter, vocalist, and composer Jeannie L.A. Blues Alliance is the brainchild of producer/ Tanner slams one out of the park with this release. She composer Mike Post, the man who scored Hill Street brings a youthful exuberance to classic tracks like I Got Blues, L.A. Law, and other classic TV shows. Post Rhythm and At Last, but she really shines with her saucy assembled nine top-notch blues players who each brought rendition of Bernie's Tune. It's absolutely strut-worthy. a couple songs and an attitude of fun for a week-long jam Tanner's composing chops are strong (with melody live in studio. Keb' Mo' and Sonny Landreth are names stronger than lyric) and the original title track is a you'll recognize on this immensely enjoyable CD of true standout.
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