They’re still tapping away, thanks to Foster Johnson

The tap revival of the 1970s and ‘80s was a confluence of young dancers and activists intent on preserving the glorious history of tap dance and expressing their own creative impulses. It laid the foundation for today’s worldwide tap explosion -- tappers from Germany, like the duo “Tap and Tray,” are no longer novelties. Centered in New York, the tap revival gave second careers to veterans who had once despaired of ever being recognized for their life’s work. Honi Coles, Buster Brown, Cookie Cook and Jimmy Slyde were all featured on concert stages and taught successive generations of young tappers. However, the tap revival missed one great veteran: L.A.’s Foster Johnson.

He danced professionally from the age of 15 until his passing in 1981 at age 64. Throughout his career, the elegant Johnson worked solo and with several partners: Pops Whitman, Bobby Johnson, Jeanette Grider, Prince Spencer and future “Star Trek” star Nichelle Nichols, who was briefly his wife. He danced with the orchestras of Ellington, Basie, Lunceford, Armstrong, Hampton and many others. When tap jobs were scarce, Johnson converted to ballroom dancing. That gliding ballroom Terpsichore gave his tapping a graceful sweep and utilized more of the stage than most tappers.

Johnson’s last 10 years were spent mentoring the young dancers who now make up L.A’s tap hierarchy: Rhapsody in Taps founder Linda Sohl-Ellison, Jazz Tap Ensemble founders Lynn Dally and Fred Strickler, flash phenom Chester Whitmore. Even actor Jeff Goldblum studied under Johnson. Despite decades of top-flight stage dancing, Johnson was never considered for film work. As a consequence, his work exists only in the dancing and teaching of his students.

At the annual Rhapsody in Taps concert Saturday, choreographer and dancer Sohl-Ellison pays tribute to Johnson in a special way that extends his work. “Foster used to open with a medley of Latin American rhythms,” she says. “It was a way for him to warm up, but I think the dance was a real classic. It’s a beautiful little study of double-time rhythms. He didn’t teach it to other dancers, but I pestered him and he taught it to me. We’ll have that section in the tribute.”

Prior to her apprenticeship with Johnson, Sohl-Ellison’s background was in modern dance. She stresses, “Foster didn’t just teach steps. He taught the history of tap and jazz music. He’d scat the steps first, and then he’d show you how they went. When we had our lessons, I’d go over to his place, and he’d put the Masonite down on the floor to dance on. Then he’d bring out his records and talk about which ones were good for tapping and why. He took me under his wing and introduced me to a whole new world of tap dancing.”

-- Kirk Silsbee

theguide@latimes.com

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RHAPSODY IN TAPS

WHERE: Aratani/Japan America Theatre, 244 S. San Pedro St., L.A.

WHEN: 8 p.m. Saturday

PRICE: $24-$40

INFO: (213) 680-3700; www.rhapsodyintaps.com