Blues Video Round-Up

There is always controversy over the notion “blues” in the dance scene; whether it pertains to the music itself, to a type of dance and what constitutes either controversy is sure to follow.

On forums discussions over what is blues surge back to the front at least once a year if not more often. So here are some videos rounded up from YouTube to demonstrate my thoughts on the matter.  Unfortunately embedding is disabled on the first two clips so you’ll have to click through until I figure out a workaround.

Grit Grinder Girlies – This clip is from ALHC 1999 and is one of the best early examples (since the revival) of solo blues dance that I could find.  Unfortunately I do not know who any of these dancers are.  The movement of the dancers captures the audience with its dynamic, musicality and simplicity.

Shaheed and Brenda – A spectacularly choreographed and executed piece to Wynton Marsalis’ “New Orleans Bump” at bluesSHOUT 2007.  Their movement is honest and their connection to the music, each other and the audience comes through even in the video; not to mention the wonderful musicality and partnering.

Blues @ RAF 2006/2007 -  This is a great clip for the variety in the interpretation of the music from the many dancers.  Some of the dancers maintain a slow drag style for the majority of their spotlights while others break away or incorporate more open position material.

If you enjoyed this video round up, check out the others: Raw Video Round-Up, Solo Jazz Video Round-Up.

What did you think about the videos?  Have other videos you want to share?  Comment.

Fats Waller – Be Kind

The movie Be Kind, Rewind got me thinking about Fats Waller and the importance he played in jazz piano in such a short yet productive life.  He was a vastly productive composer, including lesser known tunes like Minor Drag, Fractious Fingering, and Yacht Club Swing, alongside more popular tunes like Honeysuckle Rose and Ain’t Misbehavin’ which have been performed by Ella Fitzgerald, Dinah Washington, Duke Ellington, and many more.

Classically trained and rent party experienced, his music is often characterized by its playful manner and lyrics.  A prime example of the stride tradition, Fats studied with James P. Johnson and Willie “the Lion” Smith; his songs reflect the brightness of strides’ ragtime roots with the complexity of jazz improvisation and swing rhythms.  He influenced a great number of jazz pianists, including Count Basie and Errol Gardner, and still influences pianists like Gordon Webster who regularly plays for dancers.

Most recently in the lindy hop community one of Fats Waller’s lesser known songs, Twenty-Four Robbers, was used for a choreography by Skye Humphries and Frida Segerdahl.  It was performed at ULHS (article here) and at ALHC.  The routine emphasizes the clarity of Fats’ piano, and an ease and happiness that is just as characteristic of their personalities as it is of Fats’.  They evoke the spirit of the song, dancing within the space created by Fats Waller’s piano and voice.

All too often as dancers we can forget the joy of dancing or as musicians that joy of playing, we get caught up in a technical perfectionism and bind ourselves with arbitrary rules which supposedly define our arts.  Fats Waller as an icon of playfulness and joy should not be forgotten and we should embrace that when we are on the floor or the bandstand.

Solo Charleston: All The Rage

These days almost any competition worth its salt hosts a solo charleston competition; we have them at renowned events like ULHS and RAF, older events such as ALHC, and all sorts of other competitions. Camps and workshops often feature a couple of solo classes to compliment their array of partnered ones; additionally there are a few special events like Stompology which focus exclusively on solo dance.

The charleston was supposedly developed or at least got its name from Charleston, South Carolina in the first few years of the 1900′s. Although the rhythm was popularized through various shows, particularly Runnin’ Wild with music by James P. Johnson entitled “The Charleston” in 1923, it could be found in black communities for twenty years prior. It can be found in all sorts of old films dating from this period; it was generally danced either solo or in a walking (face-to-face) position. Dancers, particularly white females, were labeled flappers for the semi-birdlike resemblance that their motions had.

The lindy hop adopted many of the charleston variations into the dance and later versions of solo charleston can be seen in footage from the Spirit Moves collection and in this piece by Al Minns and Leon James.

Solo charleston today has sprung back into popularity due perhaps in part to the competition footage from ULHS for 2004 which has reached so many dancers. It features spectacular dancing with a final dance-off between Frida Segerdahl and Jojo Jackson. They have distinctly different styles but remain firmly rooted with the jazz vernacular. Many solo charleston competitions to come would see the emulation of these world-class dancers.

With its growing popularity there has been a growing selection of dancers to watch and acquire different styles and feelings within solo charleston. Take the dance-off from ULHS 2006 between Max Pitruzella and Sharon Davis; it has a vastly different look from the almost gawky dance that we see in the 1920′s flappers; sharper, more athletic. Max is rhythmic and sharp with a definite urban edge while Sharon is softer and keeps to a more recognizable jazz repertoire.

Finally we have a whole new generation of dancers coming up where solo charleston is an integral part of their early dance education. This years Rhythmics Arts Festival solo charleston competition winner is a young girl named Brieaunna or Brianna from San Diego. Check her out here.

Photo courtesy of Ryan Swift from ULHS 2007.

American Lindy Hop Championships 2007

This years ALHC was held in the Westin hotel in Stamford, CT this past weekend. Unlike ULHS, ALHC prohibits the use of outside cameras to record footage of competitions and performances so there will unfortunately not be any video footage available until the DVD comes out. Alain has posted up a few bits which showcase some of the performances from ALHC though, including a video of myself with Joanna Lucero in the Strictly Lindy.

It was the 10th year of ALHC and so it was billed as a special event with Frankie Manning attending, a special performance by Minnie’s Moochers in honor of their groundbreaking routine to “Love Me or Leave Me”, and a bit of hype. Unfortunately it didn’t seem to live up to its full potential. There were no ceremonies honoring Frankie Manning, Norma Miller or Dawn Hampton (who were all in attendance) or a talk which I would have found fascinating (unless I missed it somehow). Additionally I heard a slew of complaints regarding the hotel service, which was unfortunate since the hotel seemed quite nice.

Ultimate Lindy Hop Showdown 2007 – The End pt. 2

The second to last competition, much anticipated and talked about, was the team competition. Four teams competed with members from Canada, France, Sweden, and the U.S. The stage set and the crowd ready, it was a spectacular show.

Let’s begin with the winning routine. 23 Skidoo from Denver, Colorado won with their theatrical routine to one of this years hottest tunes: Lafayette from the Kansas City soundtrack. Although from the video perspective it looks a bit chaotic, on the ground it had a clean and directed feel. The V of swing-outs was a strong opener after the tension building in the line. They had solid formations (which can be seen well from this angle). The spotlight of Dan and Tiffany’s slow motion was very well choreographed and executed, one of the better slow motion enactments I’ve seen. Overall a very well choreographed and executed routine.

Next on my list: the Ninjammerz with Max and Annie, Kevin and Jessica, Dax and Emily and Thomas and Alice. It was a two part routine, the first section to “Happy Go Lucky Local” by the Lincoln Center Jazz Orchestra and the second to “The Last Jump” by Charlie Barnet. The beginning of the tune showcases groove lindy done exceptionally well and I almost prefer it to the second section. To make a slight comment on the song choice, the Silver Shadows used this same song at ALHC last year and it felt a bit cheeky in that some of the movements were parodies of the Silver Shadows routine. That said, the rest of the routine was quite excellently performed although I think less cascade and more ensemble movement would have brought more energy to the routine.

Next up: the Swedish Heroes including Sakarias and Frida, Mattias and Hannah, and Henric and Joanna. It was a routine with its roots firmly set in the authentic tradition of lindy hop and jazz. Although the routine kept the energy high and the feeling old school, with the level of routines they could have used more background work for those not spotlighting. Good points: the freeze in the lifts while Henric heelslides front, both the followers and leaders jazz steps starting at about 1:20 are spectacularly musical, and the ensemble Berry Lock was a great idea although the execution could have used a bit of work.

The last team under review is the Silver Shadows consisting of Skye, Andy, Todd, Peter, Nina, Naomi, Ramona and Frida. The song is “Rhythm Jam” by Gene Krupa. This team, in my opinion, has pushed the envelope of lindy hop and team choreography to a whole new level with their debut routine to “Rock & Rye” to last years stunning work “The Last Jump” and their work at Lindyfest, they have gone beyond the standards of choreography. With this said, I think this routine needed a bit more polish, which it had at ALHC this past weekend. The innovative use of space and spectacular musicality is matched with an almost avant garde choreographic style. The routine is less competitive and more orchestral. If you watch the dancers throughout they perform as band members involved in the orchestration of performance art.