Story of Tap as the Story of Blacks (1995)

Excerpt from Ben Brantley’s The New York Times 1995 review of “Bring in ‘da Noise, Bring in ‘da Funk:”

Giving extra impetus to the evening's beat are the virtuosic percussionists Jared Crawford and Raymond King, who use hands and drumsticks to find a symphony of notes in pots, pans, plastic buckets and even the taps on the dancers' feet. Their delightful presence underscores the idea of a continuing, wordless conversation among the performers, which extends into a pulse-racing series of "challenge" numbers in which they match each others' steps and embroider on them.

All the dancers, who also include James Tate and Vincent Bingham, are superb. Even in synchronized steps, each gives off a keen whiff of singularity, and you become aware of the dialogue within each performer: between the sharp, flamboyant precision of their legs and feet and the more fluid, grasping qualities of the upper halves of their bodies.

This sense of flaming individuality is finally what the evening is about: not just the collective history of a race but the diverse and specific forms of expression that one tradition embraces. In a deeply affecting solo, Mr. Glover dances before a bank of mirrors while his recorded voice talks about the influences of tap legends like Jimmy Slyde, Lon Chaney, Chuck Green and Buster Brown.

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The New York Times: Story of Tap as the Story of Blacks (1995)