top of page

Support Group

Public·66 members
Owen Torres
Owen Torres

Styles Davis - Show U (Come Over) __HOT__

Davis accepted and worked with Gil Evans in what became a five-album collaboration from 1957 to 1962.[86] Miles Ahead (1957) showcased Davis on flugelhorn and a rendition of "The Maids of Cadiz" by Léo Delibes, the first piece of classical music that Davis recorded. Evans devised orchestral passages as transitions, thus turning the album into one long piece of music.[87][88] Porgy and Bess (1959) includes arrangements of pieces from George Gershwin's opera. Sketches of Spain (1960) contained music by Joaquín Rodrigo and Manuel de Falla and originals by Evans. The classical musicians had trouble improvising, while the jazz musicians couldn't handle the difficult arrangements, but the album was a critical success, selling over 120,000 copies in the US.[89] Davis performed with an orchestra conducted by Evans at Carnegie Hall in May 1961 to raise money for charity.[90] The pair's final album was Quiet Nights (1963), a collection of bossa nova songs released against their wishes. Evans stated it was only half an album and blamed the record company; Davis blamed producer Teo Macero and refused to speak to him for more than two years.[91] The boxed set Miles Davis & Gil Evans: The Complete Columbia Studio Recordings (1996) won the Grammy Award for Best Historical Album and Best Album Notes in 1997.

Styles Davis - Show U (Come Over)

Davis and his sextet toured to support Kind of Blue.[92] He persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his quartet, though he returned for some tracks on Davis's album Someday My Prince Will Come (1961). Its front cover shows a photograph of his wife, Frances Taylor, after Davis demanded that Columbia depict black women on his album covers.[103]

A near-fatal car accident in 1954 resulted in the loss of his left eye. While he was recuperating, he began to discuss religion with his friend Eddie Cantor, himself a famed Jewish comedian and Davis would later convert to Judaism himself. Within a few months of the accident, Davis had recovered and was back to his rigorous performing schedule appearing in the Broadway show Mr. Wonderful in 1956.

Davis Vision has been providing comprehensive vision care benefits for over 50 years. Access to better vision begins with having the qualified eye care professionals in our network, which helps us to ensure our members can find cost-effective care, and a variety of styles.

Tap dance is an indigenous American dance genre that evolved over a period of some three hundred years. Initially a fusion of British and West African musical and step-dance traditions in America, tap emerged in the southern United States in the 1700s. The Irish jig (a musical and dance form) and West African gioube (sacred and secular stepping dances) mutated into the American jig and juba. These in turn became juxtaposed and fused into a form of dancing called "jigging" which, in the 1800s, was taken up by white and black minstrel-show dancers who developed tap into a popular nineteenth-century stage entertainment. Early styles of tapping utilized hard-soled shoes, clogs, or hobnailed boots. It was not until the early decades of the twentieth century that metal plates (or taps) appeared on shoes of dancers on the Broadway musical stage. It was around that time that jazz tap dance developed as a musical form parallel to jazz music, sharing rhythmic motifs, polyrhythm, multiple meters, elements of swing, and structured improvisation. In the late twentieth century, tap dance evolved into a concertized performance on the musical and concert hall stage. Its absorption of Latin American and Afro- Caribbean rhythms in the forties has furthered its rhythmic complexity. In the eighties and nineties, tap's absorption of hip-hop rhythms has attracted a fierce and multi-ethnic new breed of male and female dancers who continue to challenge and evolve the dance form, making tap the most cutting-edge dance expression in America today.

Though African-Americans and European-Americans borrowed and copied from each other in developing a solo vernacular style of dancing, there was a stronger draw of African-American folk material by white performers. By the 1750's, "Ethiopian delineators," many of them English and Irish actors, arrived in America. John Durang's 1789 "Hornpipe," a clog dance that mixed ballet steps with African-American shuffle-and-wings, was performed in blackface make-up (Moore 1976). By 1810, the singing-dancing "Negro Boy" was established as a dancehall character by blackface impersonators who performed jigs and clogs to popular songs. In 1829, the Irishman Thomas Dartmouth Rice created "Jump Jim Crow," a black version of the Irish jig that appropriated a Negro work song and dance, and became a phenomenal success. After Rice, Irishmen George Churty and Dan Emmett organized the Virginia Minstrels, a troupe of blackface performers, thus consolidating Irish American and Afro-American song and dance styles on the minstrel stage (Winter 1978). By 1840, the minstrel show, a blackface act of songs, fast-talking repartee in Negro dialects and shuffle-and-wing tap dancing became the most popular form of entertainment in America. From the minstrel show, the tap act inherited the walk-around finale, with dances that included competitive sections in a performance that combined songs, jokes, and specialty dances.

In the teens of the twentieth century, Americans went "dance mad" with the foxtrot, a syncopated ragtime dance that bounced couples along the floor with hops, kicks, and capers. Dozens of black- based "animal" dances, such as the Turkey Trot, Monkey Glide, Chicken Scratch, Bunny Hug, and Bull Frog Hop, were danced to ragtime rhythms. While dance bands in downtown New York Clubs were "jassing up" (adding speed and syncopation) such dances as the Grisly Bear and Kangaroo Dip for their white clientele, uptown Harlem audiences were rocking to Darktown Follies. J. Leubrie Hill's all-black musical revue of 1913 expressed an inexorable rhythm by its dancers who "stepped about, and clapped their hands, and grew mad with their bodies" (Van Vechten 1974). The show introduced the "Texas Tommy," prototype of the Lindy Hop, as well as new styles of tap dancing. One was Eddie Rector's smooth style of "stage dancing, in which every move made a beautiful picture. Another was the acrobatic and high-flying style of Toots Davis, whose "Over the Top" and "Through the Trenches" were named for wartime combat maneuvers. The dance finale, "At the Ball," was a spiraling, stomping circle dance whose rhythms, wrote Carl Van Vechten, "dominated me so completely that for days afterwards, I subconsciously adapted whatever I was doing to its demands." Florenz Ziegfeld bought the entire show for his Follies of 1914, thus helping to transplant black vernacular dance and jazz rhythms onto the Broadway stage.

It is generally believed that Shuffle Along (1921), the all-black musical with music by Eubie Blake and lyrics by Noble Sissle, introduced the most exciting form of jazz tap dancing ever been seen on the Broadway stage. Blake's musical score provided a foot-stomping orgy of giddy rhythms that spanned traditional and early jazz styles. While the jazz dancing in Shuffle Along was never specifically referred to as "tap dance," the styles of percussive stepping certainly belonging to jazz tap dance were often described and singled out as the most exciting aspects of the dancing. In "Jimtown's Fisticuffs," the boxing match performed by Flournoy Miller and Aubry Lyles, as two would-be mayors, saw these rivals swinging and knocking each other down, jumping over each other's backs, and finishing each round with buck-and-wing and time steps. The title song, "Shuffle Along," a song-and-dance number featuring the Jimtown Pedestrians, had the Traffic Cop played by Charlie Davis performing a high-speed buck-and-wing dance that staggered the audience. Elsewhere in the musical, Tommy Woods did a slow-motion acrobatic dance that began with time-step variations that included flips landing on the beat of the music; and Ulysses "Slow Kid" Thompson, a well-known tap dancer, performed an eccentric soft shoe with rubber-legging legomania. The most obvious reference to tap dance in Shuffle Along is the "shuffle" of the title, a rapid and rhythmic brushing step that is the most basic step in tap dancing. The step also refers to the minstrel stereotype of the old and shuffling plantation slave who, accused of being lazy and venal, drags and scrapes his feet along he ground. While the book in Shuffle Along purveyed the old caricature of the black- shuffing Fool, the musical part of the show embodied a new image of the black dancer as a rhythmically propulsive source of energy. Tap dance was thus resurrected from its nineteenth-century minstrel origins to a modern twentieth-century art form. After Shuffle Along, musical comedy on Broadway in the twenties took on a new rhythmic life as chorus girls began learning to dance to new rhythms.

The 1920's also saw the rise of John Sublett Bubbles, who is credited with inventing "rhythm tap," a fuller and more dimensional rhythmic concept that utilized the dropping of the heels as accents. Born in Louisville in 1902, Bubbles at the age of ten teamed with the six-year old Ford Lee "Buck" Washington in an act billed as "Buck and Bubbles." Bubbles sang and danced and Buck played accompaniments, standing at the piano. After winning a series of amateur night shows, they began touring in musical engagements. At the age of eighteen Bubbles' voice began to change and instead of giving up show business he focused on dancing. After smarting from the embarrassment of being laughed out of the Hoofer's Club as a novice, Bubbles developed his technique and returned to the Club to win everyone over with a new style of tapping laced with Over-the-Tops and triple back slides. By 1922, Buck and Bubbles reached the pinnacle in vaudeville circuit known as T.O.B.A., their singing-dancing-comedy act headlined the white vaudeville circuit from coast to coast. Buck'' stop-time piano, which was played in the laziest manner imaginable, contrasted with Bubble's witty explosion of taps in counterpoint. They appeared in Broadway Frolics of 1922, Lew Leslie's Blackbirds of 1930, and sensationalized The Ziegfield Follies of 1931. Bubbles' rhythm tapping revolutionized dancing. Before him, dancers tapped up on their toes, capitalized on flash steps, and danced to neat two-to-a-bar phrases. Bubbles loaded the bar, dropped his heels, and hit unusual accents and syncopations, opening up the door of modern jazz percussion. 041b061a72


Welcome to the group! You can connect with other members, ge...


Group Page: Groups_SingleGroup
bottom of page