Albany, N.Y.: Timesunion.com - Print Storyhttp://timesunion.com/AspStories/storyprint.asp?StoryID=669580Page 2 of 23/12/2008Studying dance<strong>Tyner</strong> knows a thing or two about dance, as well."When I was a teenager, I affiliated myself with a dance school. I studied dance," he recalls. "At the school they needed somemale dancers, so I said, 'Let me find out what this is about.' I didn't study tap I studied African dancing but a lot of peoplewere interested in tap. It's a very rhythmic concept tapping. It's definitely part of the African-American experience and theAmerican experience as well."So I connected with Savion right away. He sort of brought back some wonderful memories. It has a lot to do with the musicjazz and tap just go together."It's a beautiful thing. I found out that dance and jazz music are like bedfellows they're so wonderful when they'recoordinated."Throughout his long career, <strong>Tyner</strong> has recorded more than 80 albums in his own name, including his latest CD, simply titled"The <strong>McCoy</strong> <strong>Tyner</strong> Quartet," which he released late last year to launch his own record label <strong>McCoy</strong> <strong>Tyner</strong> <strong>Music</strong>.The next album from the new label is slated for release in the fall, a CD/DVD package which not only <strong>feat</strong>ures <strong>Tyner</strong> and therhythm section of bassist Ron Carter and Woodstock drummer Jack DeJohnette, but also an array of special guest guitaristsMarc Ribot, Derek Trucks, John Scofield and <strong>Bill</strong> <strong>Frisell</strong>, as well as banjo pioneer Bela Fleck.But <strong>Tyner</strong> doesn't spend a lot of time planning his next musical moves. "I take it one step at a time. I don't want to get too farahead of myself," he says. "I enjoy each day, and every day is different. I learn that way. I appreciate the moment."You have to improvise," he adds. "I think that's what I do best."Greg Haymes may be reached at 454-5742 or by e-mail at ghaymes@timesunion.com.The <strong>McCoy</strong> <strong>Tyner</strong> <strong>Trio</strong>With: Savion GloverWhen: 8 p.m. FridayWhere: The Egg, Empire State Plaza, AlbanyTickets: $36; seniors $32; children $18Info: 473-1845; http://www.theegg.orgAll Times Union materials copyright 1996-2008, Capital Newspapers Division of The Hearst Corporation, Albany, N.Y.HOME | CONTACT US | SUBSCRIBE TO NEWSPAPER | HOW TO ADVERTISE | PRIVACY RIGHTS | COPYRIGHT | CLASSROOM ENRICHMEN
NJ.com's Printer-Friendly Pageof 2http://www.nj.com/printer/printer.ssf?/base/entertainment-1/120391773...3/12/2008 9:56 AMTap master add his beat to jazz trioMonday, February 25, 2008ROBERT JOHNSONSavion Glover and <strong>McCoy</strong> <strong>Tyner</strong>Where: Count Basie Theatre, 99 Monmouth St., Red BankWhen: 8 p.m. FridayHow much: $45-$100. Call (732) 842-9000 or visit countbasietheatre.org.Tap dance genius Savion Glover never seems to run out of ideas. Rhythms cascade from his feet incontinuous and unpredictable streams, but, more than that, he keeps finding new ways to frame what hedoes so that it always looks fresh.The dancer's current tour, in which he appears as the guest of celebrated jazz pianist <strong>McCoy</strong> <strong>Tyner</strong> and his<strong>McCoy</strong> <strong>Tyner</strong> <strong>Trio</strong>, is simply the latest in a series of remarkable encounters that have raised the profile oftap dancing while underscoring Glover's artistry and his seriousness of purpose.The ongoing dialogue that Glover and <strong>Tyner</strong> began two years ago, and brought to the Rutgers Center forthe Arts in Camden on Saturday, is less daring in some ways than Glover's past exchanges. Never afraid toprovoke or to experiment, Glover has jammed with a classical string ensemble, with classical and moderndancers, and with Bobby McFerrin. His collaboration with <strong>Tyner</strong> is something new again. It does not seek todazzle with conceptual chutzpah, nor endear itself with sheer adorability.Instead, Glover and <strong>Tyner</strong> offer audiences an evening of concentrated artistry, replete with the music'sinherent dignity and elegance. <strong>Tyner</strong>'s own music dominates the sets, giving Glover his theme, and abackdrop in a vivid shade of magenta or blue seems the artists' only concession to theatricality.The music is exciting enough. <strong>Tyner</strong> has earned his reputation for boldness, slamming the keyboard withthe palm of his hand in a way that may or may not equate Glover's penchant for funky stomping (here littlein evidence). The pianist opens the program with an impassioned number that proudly exposes histechnique and generates magnificent, floating billows of sound, colored textures that are still hanging in theair when Glover steps onto a raised platform center-stage. The tapper uses the powerful clarity of hisrhythms to cut through them, piercing the impressionistic sheets like a floodlight scanning the heavens on anight of violent electrical storms.In this remarkable percussive duet, piano and feet are sufficiently different that each artist maintains his owndistinct sphere and approach. <strong>Tyner</strong> is not to be trifled with, however, and Glover, who keeps his head andbody angled toward the piano during most of the program, seems to follow more than he leads, askingrhythmic questions and amplifying the musical context, but mostly agreeing with <strong>Tyner</strong>'s points. He seemsfreer in his relatively brief exchanges with trio members Eric Gravatt (drums) and Gerald C. Cannon (bass);and when, in part two, the conversation turns to Duke Ellington, Glover's feet have a lot to say.Ellington's "In a Mellow Tone" supplies the crisp and classic segment of a program where the musical moodevolves subtly from drama to romance and onward to the exotic, without overstepping <strong>Tyner</strong>'s personalstyle. Yet <strong>Tyner</strong> reaches out to Glover, also, especially near the official end of the program (not theindispensable encore) where the pianist captures one of Glover's beats and hammers it into his own score.Sitting back from his keyboard, and pointing a finger playfully at his tap-dancing accomplice, the pianistcould be taken for a dancer, too.Robert Johnson writes about dance for The Star-Ledger. He may be reached at rjohnson@starledger.com.