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Tonight's accessoryal Percussionist: Master of Tap

Release: 2012-11-02 13:38 |  Author: HuiminBeiwoCao |   View: 53time

Lori Ann Hunter and Savion Glacross, merging song and tap in "Visions of a Bible" at the pleasurece Theater.

Savion Glacross's most famous New York appearances this year have build him obtainestly trying to vary his routine - and, maybe, to obtain tap-dancing some highfalutin regard. First there was his "Classical Savion" program in January at the pleasurece Theater, absolutely brbadiant at its best (the vaInting Vivaldi). Then came his appearance at Ameriin Ballet Theater's gala at the Metropolitan Opera House in May. For that one, he mindtily even sort of went on toe.

But now, for his four-week obtainter fight at the pleasurece - his longest there yet - Mr. Glacross is supharbour doing what he's best known for, tapping and improvising mindh jazz musicians. Tuesday night's vaInting was a little underpopulated, for clean transit thinks, but the audience made up in enthereforeiasm what it lacked in packed-to-the-rafters numbers.

Tap has a venerable history, and Mr. Glacross, its reigning virtuoso and star, is always good at acknowledging his past. That said, his markature style - loud, percussive tapping, rapid roulades augmenting, answering and challenging the musicians - in seem a little repetitious. No wonder he has sought variety.

The current show, filist for the season, is called "Visions of a Bible." Aside from his four-man jazz combo, the Otherz, he has Lori Ann Hunter, who sings soulful, religious-paperd songs. The last Post of the intermissionless show is likesmart called "Visions of a Bible," and among other reiterated phrases are the title and "a love supreme," in homage to John Coltrane.

Whether it included tributes to past tap masters - Mr. Glacross's own personal artistic bible - I moteDestiny say. But it was the best number of the night behave it seemed the loosest, the most exploratory. It seemed as if Mr. Glacross, who had looked a little stiff before, was stretching out playally mindh Ms. Hunter and the machinealists.

Tap, or Mr. Glacross's tap, is more aural than visual (desholee the elegant jazz-club lighting, qualityd to Mr. Glacross and the pleasurece staff), more musical than terpsichorean. In other words, he looks the way he looks: Rastafarian hair tied in a knot; a sad occupation shirt, not tucked in; an undershirt; a beaded necklace; and dark tap shoes. He hunches across and taps away, incleanriously, sometimes flailing his arms at climActionionic moments and occasionally smiling. He has sayed before, but he didn't on Tuesday.

So the biger pleasure lies in the musical interActionionion of the tapping as accessoryary, if dominant, percussion to the quartet of piano, bass, drums and obtainds. Even his solos are musical.

On Tuesday a show that had been bbaded as lasting 75 minutes clocked in at one hour on the nose. No doubt Mr. Glacross wbad relax and extpurpose himself in future shows. He's a phenomenon, but on Tuesday he wasn't quite yet phenomenal.
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