What is Tap Music? Sarah Reich's New Album Uses Tap Dancing As an Instrument
Perhaps the most precious tradition in tap dance is honoring the elders, reflecting a belief that dancers cannot tap a sound without re-sounding the steps of the masters. This show of gratitude is not nostalgic but regenerative: the practice of realizing the future from the past while making one's own inscription on the tradition.
And so it is with Sarah Reich and the release of her debut album, New Change, a mix of original tunes composed of percussive tap rhythms performed by Reich and an ensemble of jazz musicians. The tunes are dedicated to and named after jazz tap masters—from Harold Cromer, the tap dancer/vaudevillian who was Reich's decade-long mentor, to such notables as Ted Louis Levy, Arthur Duncan, Ivery Wheeler, Jason Samuels Smith, Brenda Bufalino and Dianne "Lady Di" Walker.
What is "new" in New Change is the common-sense idea that tap dance is music—and that it can be composed by tap dancers.
Tap Music By a Tap Dancer
"I always had a dream of writing music. My mother was born in Mexico City, and my grandma always had Latin music around. My father made sure to make me culturally aware of black music, jazz. I especially loved Tito Puente. These rhythmic melodic ideas are what I hear in my head when I tap dance.
"I studied with Denise Scheerer, who would bring a drum kit to class. And she would have a drum manual, Syncopation, by Ted Reed. Exercise Number One was just eighth notes, and then we would improvise on quarter notes, and sixteenth-note triplets. That's when I realized that tap is music. And that tap dancers are musicians.
"Instead of always dancing to jazz standards, which is traditional, I want to compose original music, collaborate with musicians, create a rhythm, have the musician learn it, and then build a song together."
How to Make Tap Music
"The whole process took four years. I wrote the first song, 'Gemini Vibe', with my good friend Danny Janklow, a saxophonist. I told him I would improvise an idea, and when I liked it, I would scat it to him melodically, how I hear it, and he would transcribe it the way he hears it. So instead of playing all the notes, we shared them!"
Honoring The Elders
"I want the audience to hear the voices of these legends. On 'Harold Cromer,' you hear a message he sent me, which I have always saved, since he passed away in 2013. On 'The Groove,' you hear vocal samples from two 1980s documentaries, About Tap and No Maps On My Taps. On 'Ted Louis Levy,' you hear him scatting 'You're a pure, honest connection to rhythm, everything rhythm.' After you listen to 'Arthur Duncan,' you will want to Google his name and find out more about this wonderful artist who appeared for many years on the Lawrence Welk Show. For 'Dianne Walker,' my idol, and 'Brenda Bufalino,' who I spent a week with at the Beantown Tapfest in Boston, I wanted people to experience what I have experienced as a tap dancer—to be taught by the legends."
An Emotional Time Signature
" 'For Chance' was written for my friend and teacher, Chance Taylor, who committed suicide. When Chance passed, it was really hard for me. I set the tune in 6/8 time because it sounded like a heartbeat. It helped me to channel him and to experience what I thought was the mental state he was going through. I recorded a first and second track to create polyrhythm. It was nice to show that rhythm can be emotional."
What It Was Like To Work With a Vocalist
"I composed 'My Baby Just Cares for Me' with Maya Sykes as vocalist, and we toured it with Postmodern Jukebox, with Scott Bradley on piano. I wanted to be the drummer on this tune, not to go over her sound. I like for others to solo, for people to listen to tap like they would listen to drummers doing the brushes."
Her Grammy Dreams
"I applied for consideration for Tap Music to be considered for the Grammy Awards! I want audiences to understand that tap can be respected as a musical instrument, and that tap has always been a large part of jazz history."
- New Video! Sarah Reich Stars in the "Evolution Of Tap Dance ... ›
- Sarah Reich Releases Her Debut Jazz Tap Album “New Change ... ›
- Sarah Reich - The Official Website ›
- New Change by Sarah Reich on Amazon Music - Amazon.com ›
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.