Jazz Tap Ensemble Looks to the Future

It’s no secret that we’re a youth-obsessed society. By presenting an evening titled “The Next Generation” at the John Anson Ford Amphitheatre on Saturday, Lynn Dally, artistic director of Jazz Tap Ensemble, passed the mantle, so to speak, to a younger generation of dancers. By doing so, Dally assured that the art of tap would be in good hands--or feet, as the case may be.

In a 16-part program, with nine Los Angeles premieres, JTE was joined by the Caravan Project (hoofers ages 13 to 19), founded by Dally in 1991. These comers--Namita Kapoor, Melinda Sullivan and Joseph and Josette Wiggan--have all the right moves and a collective determined presence.

That said, much of the night belonged to JTE veteran Becky Twitchell, who not only artfully choreographed six of the evening’s works but also danced with Dally-esque ease and a sure-fire style.

In Twitchell’s “Samba/Swing,” Sullivan, Joseph Wiggan, Kapoor and JTE members Jeffery Williams Jr. and Jerri Lynn Henning executed sharp unisons to music of Cole Porter. In “Worm,” the quintet hammered out a slithery, military-like beat, while Twitchell’s “St. Thomas” showcased Henning and Williams in a duet that broke out in a quasi-jitterbug coupling.

Twitchell took a solo turn in “Gravy Waltz,” tossing off sassy spins, ending with a rocking, full-body quiver. She paired with a JTE dancer, the spectacular Channing Cook Holmes, in “Milestones,” the duo’s creation peppered with syncopated tappings that sounded like cannons firing.

In his piece, “Seven,” Holmes’ flagellating footwork proved Einstein-ian in its complexity. JTE member John Kloss’ legs had a life of their own in his premiere, “Besame Mucho.”

Guest artist Chance Taylor soared with whiplash turns in his new improvisation, “Afro-Blue.” Also guesting: former JTE dancer Dormeshia Sumbry-Edwards, whose “Solo” had her moving backward and forward with astonishing speed and agility.

As always, the jazz half of JTE’s equation proved equally first-rate: Music director Jerry Kalaf provided stellar drum work, Doug Walter grooved on piano and sax, and Domenic Genova plucked out a mean bass.

In all, a tour de tap night.