We love to hear from our audience members! Send us your review of a recent Alys Stephens Center performance. Thanks to Shermika Dunner for sharing her experience from McCoy Tyner and Savion Glover.
Art in Tandem: Jazz and Tap Meet
By SHERMIKA DUNNER
McCoy Tyner Trio, which consists of McCoy Tyner, piano; Eric Kamau Gravatt, drums; and Reginald Veal, bass, made for a tantalizing musical and art experience at the Alys Stephens Center’s Jemison Concert Hall. Tap dancing phenomenon Savion Glover also performed as well. The evening began with a jazz composition that was light and flirty. The music was playful and reminiscent of a fleeting moment. Interestingly enough, at the end of the song, Tyner announced that it was titled “Fly With The Wind.”
Glover, who graced the ASC in 2007 with a tantalizing performance, was introduced by Tyner. Once again, Glover was not to disappoint. McCoy Tyner Trio and Glover intertwined their talents on Duke Ellington’s “In a Mellow Tone.” Tyner’s hands moved deftly as his fingers struck each key, creating a smooth and melodic consonance that filled the concert hall. Glover faced McCoy in what appeared to be a battle of talents; as McCoy’s hands tapped each key, Glover’s feet moved fantastically while his taps echoed throughout the concert hall. Their interaction was playful and amazing to watch. At times, it seemed as if Glover’s taps could be heard before his feet moved.
Glover was all smiles throughout his performance, as he made wild gleeful gestures with his hands. As the music sped up, so did Glover as spirited taps were executed with an exuberant energy. Each tap was delivered succinctly.
“Blues on the Corner” was another song that combined jazz and tap beautifully. The jazz was introspective and fluid, definitely of the bop style, and had an artful approach as it interweaved with Glover’s tap dancing.
Glover challenged Gravett, and as each rhythmic beat escaped from the drums, Glover’s feet made fantastic movements all over the stage. In “African Village,” with its deep polyrthymic tones, Glover was quick on his feet as McCoy played deep and lush chords. Facing McCoy, Glover echoed the music with his taps, creating both light and hard sounds with his feet.
McCoy Tyner Trio was impressive with their superb ability to engage the listener and send them on a musical whirlwind. The show was simply brilliant. The polyrhythmic fusion included the mesmerizing taps of Glover, and the combination of the two art styles made for a magical evening.
Art in Tandem: Jazz and Tap Meet
By SHERMIKA DUNNER
McCoy Tyner Trio, which consists of McCoy Tyner, piano; Eric Kamau Gravatt, drums; and Reginald Veal, bass, made for a tantalizing musical and art experience at the Alys Stephens Center’s Jemison Concert Hall. Tap dancing phenomenon Savion Glover also performed as well. The evening began with a jazz composition that was light and flirty. The music was playful and reminiscent of a fleeting moment. Interestingly enough, at the end of the song, Tyner announced that it was titled “Fly With The Wind.”
Glover, who graced the ASC in 2007 with a tantalizing performance, was introduced by Tyner. Once again, Glover was not to disappoint. McCoy Tyner Trio and Glover intertwined their talents on Duke Ellington’s “In a Mellow Tone.” Tyner’s hands moved deftly as his fingers struck each key, creating a smooth and melodic consonance that filled the concert hall. Glover faced McCoy in what appeared to be a battle of talents; as McCoy’s hands tapped each key, Glover’s feet moved fantastically while his taps echoed throughout the concert hall. Their interaction was playful and amazing to watch. At times, it seemed as if Glover’s taps could be heard before his feet moved.
Glover was all smiles throughout his performance, as he made wild gleeful gestures with his hands. As the music sped up, so did Glover as spirited taps were executed with an exuberant energy. Each tap was delivered succinctly.
“Blues on the Corner” was another song that combined jazz and tap beautifully. The jazz was introspective and fluid, definitely of the bop style, and had an artful approach as it interweaved with Glover’s tap dancing.
Glover challenged Gravett, and as each rhythmic beat escaped from the drums, Glover’s feet made fantastic movements all over the stage. In “African Village,” with its deep polyrthymic tones, Glover was quick on his feet as McCoy played deep and lush chords. Facing McCoy, Glover echoed the music with his taps, creating both light and hard sounds with his feet.
McCoy Tyner Trio was impressive with their superb ability to engage the listener and send them on a musical whirlwind. The show was simply brilliant. The polyrhythmic fusion included the mesmerizing taps of Glover, and the combination of the two art styles made for a magical evening.
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