Beyond Rhythm: How Tap Dancer Ian berg is Redefining Jazz with Subject:Matter
Ian Berg isn’t just a tap dancer; he’s a musical innovator. As the first tap dancer to graduate from Berklee College of Music, Berg is forging a new path where the percussive art of tap isn’t accompanying music, but is the music. His ensemble, subject:Matter, recently released their sophomore album, With Far Hand, a collection of original compositions born from a unique collaboration between Berg and drummer André Sudol. This isn’t simply jazz with tap; it’s jazz informed by tap, a distinction Berg passionately champions.
A New Soundscape: From Berklee to With Far Hand
Berg and Sudol connected at the Berklee Global Jazz Institute, where Berg completed his master’s in music in 2023. Their shared musical curiosity led to With Far Hand, an album that builds on the foundation laid by Subject:Matter’s debut, Songbook. But this project extends beyond the studio. It’s also a full-length performance piece featuring Berg alongside dancers Jackson Clayton and Samantha Emmond.
The album’s genesis lies in a desire to bridge a gap. ”I love the sound of tap dancing,” Berg explains, “but I feel like a lot of musicians don’t hear that sound inside of their music.” He aims to compose arrangements that invite musicians to appreciate the metallic resonance of tap shoes on wood, recognizing it as a legitimate and compelling musical element.
Deconstructing and Reconstructing tap’s Musicality
What truly sets Subject:Matter apart is its compositional approach. Berg doesn’t simply add tap to existing tunes. Rather, he builds the music around the rhythms and textures of tap dance.
Here’s how they’re achieving this:
* Rhythmic Foundation: songs are often constructed in unconventional time signatures (like 5/4) specifically to accommodate and highlight tap steps.
* Step as Source Material: Berg creates “time steps” – foundational tap sequences – and then remixes those sounds within the final compositions.
* phrasing and Accents: The music is meticulously phrased to emphasize the accents inherent in tap steps, creating a symbiotic relationship between sound and movement.
“it’s not just a tune with a melody and solos,” Berg clarifies. “When composing, I would say, ‘Okay, I want to write this song in 5/4 time. Let me make a time step or two.'”
Beyond Performance: Tap Dance as Ensemble Instrument
Berg’s vision extends beyond simply creating enjoyable music and dance. He’s actively challenging the conventional role of the tap dancer within an ensemble.Too often, he observes, tap dancers are placed in a room with musicians without a clear understanding of their unique contribution.
Subject:Matter is actively exploring the diverse roles tap dance can fulfill:
* Improvised Solos: Showcasing the individual virtuosity of the tap dancer.
* Counterpoint Choreography: Creating complex rhythmic dialogues between tap and other instruments.
* Rhythmic Foundation: Establishing a percussive bedrock for the entire ensemble.
“Tap dancers don’t always get the chance to think about what their role is,” Berg notes. “In this music, we’re trying to explore all the different roles that tap dance can have.”
A Future Where Rhythms are Known
Berg’s ultimate goal is aspiring: to elevate tap dance to the same level of musical recognition as other instruments. He envisions a future where audiences attend tap shows not just to see the dance, but to know the rhythms.
“I always wanted to make stuff that, if you could just watch it, it would be great to watch, and if you could just listen, it would be great to listen to,” he says. “Wouldn’t that be so cool if people showed up to a tap dance show and knew all the rhythms?”
This pursuit is informed by his studies at Berklee, where he learned to prioritize tone and clarity even without the visual component. “At Berklee, there was a recording class where we’d record a tune with our ensemble. I had to think: The visual of the steps I’m doing are not going to matter. How