Arts & Entertainment writers offer capsule comments on this, that and the other thing ...

	Dave Pike -- Vibraphonist's "Body and Soul" was a highlight of jazz concert. Click photo for larger image.

Pitt Jazz Seminar

Dr. Nathan Davis rolled out his roster of jazz performers Saturday night at Carnegie Music Hall in Oakland, a concert that was part of the culmination of the 36th annual University of Pittsburgh Jazz Seminar and Concert.

As always, there were moments of beauty and delicacy -- none greater than the group's performance of Erroll Garner's "Misty" and vibraphonist Dave Pike's reconceptualization of "Body and Soul."

Among the regrettable moments were the somewhat incohesive voices of the 10 musicians assembled. They met the music's technical challenges but never seemed to come together with sustained ensemble fire.

And it was like that all night -- the big arrangements could have sounded better, but the smaller ones gave the ensemble its best moments.

During the intermission, Pittsburgh pianist Ahmad Jamal (who was not present) and the late drummer Papa Jo Jones were inducted into the University of Pittsburgh Jazz Hall of Fame.

-- By Nate Guidry,
Post-Gazette jazz critic

Bodiography

Bodiography's "Multiplicity" is, well, multiplying. Originally conceived as a choreographic showcase for members of the company, it has expanded its horizon to include guest artists of all genres, making what was an elementary experiment into more of an entertaining event.

Sculptor Eric Rose and guitarists James Patia and Justin Morris offered an emotional "Out of the Black," but the rest was all about moving.

Sometimes it was in mysterious ways, as with Zafira Belly Dance Company grooving in its ancient tradition while adding a few new wrinkles. Languorous body ripples gave way to sultry contemporary waves, and some nifty mirroring and footwork made for an impressive showing.

Mostly the dance was upright and straightforward, as in Karen Dacko's work-in-progress, "Pas de Schumann," which neatly toyed with the folk elements of classical ballet but allowed some classroom combinations to seep into the phrases, and with Courtney Gleason's contribution, "Falling Up," well executed by the dancers.

So while there were no surprises in the choreography, there was with the company, which seems to be maturing without losing its enthusiasm. Movements were sharp and clean in Kelly Basil's "Steel Surf" and "Black and Light" and Lauren Suflita's "All Sorts," while Shannon Hritz delved into a Ailey-esque gospel number, "Blow, Wind, Blow."

-- By Jane Vranish,
Post-Gazette dance critic

'Portraits of Reaction'

Choreographer Jillian Canastraro's "Portraits of Reaction" opened on a chilly stage Friday at the Brew House Space 101 on the South Side, just behind the landmark "big clock." No matter, given Canastraro's streetwise flair amid the Brew House's urban environment.

At the start came Charlie Rose's dance sculpture and Chad Ellish's movement videos, darting from space robots to Hacky Sack. But the most impressive of his video segments were Evel Knievel daredevils (sans motorbike) who leapt medium buildings in a single bound. Although a fascinating and slightly crazy display of cat-like sensibility, it was probably downloaded from an Internet video of the Dvinsk Clan.

This new breed of Spider-Men were performing parkour, a technique invented by Frenchman David Belle in 1988. Using moves called Tic Tac, Cat Leap and Landing Roll, these extreme athletes used buildings, cars, walls and fences as their movement props, and this was Pittsburgh's first official glimpse of this cult trend.

Canastraro's total effort pulled from artistic and video resources. Choreographically speaking, the program's strength lay in some cool solos by Chico, Sammie Zier and Canastraro.

The overall theme, based on reactions, had its merit and was best seen in "Get Yourself Together," where different body parts were exposed in a unison dance, and "Hatred Between the Double Mint Twins," an aerial/floor duo by Amanda Schneider and Lisa Julian.

Conceptually, the program worked. But Canastraro still needs to use more dramatic layers in her choreography and instill a consistent stylistic discipline on her dancers, more like Philadelphia's captains of hip-hop, Rennie Harris Puremovement.

-- Jane Vranish